ARTISTKORRESPONDENS
Det var inte lätt att få artister att sätta sig framför en bandspelare och berätta om sig själva. Det var inte heller lätt att få artister att ta fram skrivmaskinen eller pennan och skriva sin biografi. Vi fick material från Roy Brown, och Charles Browns egenhändigt skrivna biografi kunde vi använda till Route 66 (KIX-17).
Efter ett tag hade vi i stället ett litet team i USA som kunde sköta intervjuer på plats eller via telefon. Många artister bodde i Los Angelesområdet. Det var svårare att intervjua de som bodde utanför storstäderna.
HANK BALLARD
Det krävs en insatt och kunnig lyssnare att plocka ut guldkornen ur Hank Ballards stora produktion. Man kan inte haka upp sig på de inspelningar som inte håller måttet. Han har varit trendkänslig men också skapat egna trender. Enbart hans originalversion av den egenhändigt komponerade ”The Twist” gör honom odödlig. Jag har inte sett honom live men man kan förstå att han var en utmärkt scenartist.
Det har varit mycket diskussion om de covers som gjorts av vita artister av bland annat Little Richards, Fats Dominos och Joe Turners originallåtar. Avsikten var inte att de skulle bli lika bra som originalet och det fanns heller inga vita sångare som klarade den uppgiften (utom kanske Elvis ibland).
De svenska artisterna som Siw Malmkvist eller Lill-Babs lyckades ännu sämre. Det var inte deras eget fel. Lill-Babs gjorde i och för sig en charmig cover – ”Mamma, en karl har sett på mig” av originalet med Johnny Otis med Marie Adams and the Three Tons of Joy (Ma he’s making eyes at me). Men svenska covers utgick från de notblad som skickats från USA. Oftast hade man inte hört originalskivan. Det såg Sveriges Radio till genom att nästan aldrig spela förråande rock and roll. Samtidigt fanns det också dolda sexuella budskap som man inte ville sprida. I låtar som the Midnighters Fingerpopping Time (tid för ”Fingerpulla”), manlig självtillfredsställelse i Johnny Otis ”Willie and the hand jive” eller the Larks ”The Jerk”.
Ett svenskt cover-undantag är Cacka Israelssons ”Gamle Svarten” (Old faithful). Den är faktiskt riktigt bra. Cover-versionen av ”The Twist” med Chubby Checker är väldigt trofast originalet. Man har hittat en sångare (Chubby Checker) som har en röst som ligger nära Hanks. Däremot är vokalgruppssångarna bakom Chubby en klass lägre än Hanks egna Midnighters.
Hank togs om hand av James Brown i slutet av 60-talet. Han spelade in honom med eget band I bland annat “How you gonna get respect (when you haven’t cut your process yet)”. James var en tidig advokat for afrofrisyren, men det dröjde ett tag för Hank att byta frisyr, trots att den här skivan redan var ute och hördes på radion. Allt enligt Danny Adler (Roogalator) som då bodde i samma stad.
Hank var inte oreserverat tacksam. Han påpekade offentligt att James Brown hade ett enormt ego. James gjorde en tribut-lp till Little Willie John efter dennes död i fängelset 1968. Kanske inspirerad och uppmuntrad av Syd Nathan som gärna såg att King-artisterna spelade in låtar som hans publishingbolag redan hade copyright på.
Hanks brev var skrivet den 19e september 1979;
It was such a joy hearing from you and to know that you have an interest in me and my group. I have a current record out on the London label. Title FREAK YOUR BOOM BOOM which is doing very well for me.
A couple of weeks ago I issued a license to London of Canada and UK. My contract with London is solely USA.
Maybe you and I and my associate can work out something that can make us all some money. I have a joint venture prod. with a friend you should know. His name is Luther Dixon. He was co-owner of the Scepter Record Co. who had prod. on the Shirelles, Chuck Jackson and Dionne Warwick. At present we are recording an album on Chuck Jackson here in Miami and it just might be the greatest album he´s ever had. We are also planning an album on the Blue Notes the group who was formally with Harold Melvin + the Blue Notes. I´m also getting my next single together which I think will be the biggest thing I´ve had in a long time.…..It takes a single in the USA to carry an album.
Jonas, I’m very interested in a tour over there if you can arrange it. I’ve never been on tour on foreign soil even though my records sell quite well over there. I’ve had offers but the money was never right. So I decided I’d wait until the time is right.
Jonas, write and let me know in detail what you want in terms of recording, tours and etc. If you think we can make some money together don´t hesitate to let me know. We have quite a bit of original material, a staff of ten writers, and a four track studio for demos.
I went to Nashville last year and recorded six sides of my old material for the K-Tel inc. And in April of this year I did four shows at the Howard theatre in Wash. D.C. and had S.R.O. many shows and was really surprise because it was my first time out in four years. It´s amazing how they still like that old stuff.
Incidentally, my daughter is ticket agent for Delta airlines in Phila. Pa. and for the pass time years she’s been coming to Stockholm Sweden on her vacation, she loves it over there. Had I known you a couple months early I would have given her your address.
So next year when she vacation over there she´ll come by to meet you. Jonas, send me your telephone number,
My number is area code (305) 751-3383 Miami Fla.
Do let me hear from you as soon as possible.
Sincerely // Hank Ballard
Om jag senare såg en kvinna med ett afroamerikanskt utseende liknande Hanks i Stockholm tänkte jag ofta att det kunde vara Hank Ballards dotter. Det var inte många som kom hit, men jag antar att de blev både uppmärksammade och uppvaktade.
Även om jag hade material till en lp med låtar som inte tidigare funnits utgivna på lp så blev det inget. Det var mest B-sidor. De skulle naturligtvis ha glatt de Hank Ballard samlare som ville ha alla låtar han spelat in. Men de höll inte riktigt måttet för en representativ och bra lp med Hank Ballard och hans Midnighters. Jag var heller inte intresserad av att sponsra nya inspelningar som skulle försöka toppa den dagens hitlistor. Jag saknade kunskaper, kontakter och pengar.
NAPPY BROWN OCH SCREAMING JAY HAWKINS
Det var inte bara Floyd Dixon som engagerat sig i att spåra upp artister. Även Screaming Jay Hawkins var en av våra talangscouter. Han hade redan skickat Bullmoose Jacksons adress: Benjamin Jackson, 4201 Illinois Ave, N.W. Washington, D.C. 20011, USA. Och nu hade Jay hittat även Nappy.
Nappy Brown is in North Carolina. I have been told over the telephone just now that they will call me tomorrow before I mail this letter and give me Nappy Brown’s address so I can send it to you in this letter. I can only hope and pray that they will keep their word.
Sincerely Yours
Screamin’ Jay Hawkins
PS: Just got a hot flash off the telephone on Nappy Brown. 5703 Leak St, apt 19, Charlotte, North Carolina 28208. Try to pick up the other names later.
I nästa brev skriver Jay följande:
Last week I had the pleasure of going down to a nightclub and seeing in person, for the first time in 25 years, the one and only, Nappy Brown. I showed him the letter you sent me which showed “you had some money for him”. He cried and he thanked me. I gave him your address and I told him to write you right away. I told him, I had sent you the only address I had on him. He said he was no longer at that address. Then your letter came today which said the same thing.
Anyhow he gave me his new address and phone number, so I am now sending it to you.
He can use the money. He worked two nights here in New York City, last week. He got robbed, pay night. He went home broke. The money you send him will be to him like a blessing from GOD.
Napoleon “Nappy” Brown Culp, Route 2 Box 156, Pomario, S.C. Phone number (803) 276-8826.
Sincerely Yours ‘
Screamin’ Jay Hawkins
Sen skrev Nappy Brown;
P.O. Box 134
Pomario
S.C. 29126
Dear Mr Bernholm
I met Screaming J. Hawkins at the night club. He told me that you had been trying to get in touch with me so I´m sending you my address so you can send me the money.
Thanks // Nappy Brown
Brevväxlingen fortsätter;
Dear Mr Jonas,
I received your letter and was very glad to hear from you. Now I´m writing you concerning the contacts about the tours.
I have been resting up but I´m ready for touring and recording, I would like to be recorded for your company. I´ll be waiting to hear from you right away.
Thanks
Nappy Brown
Don´t Be Angry
August 6, 1979
I have been resting up but I´m ready for touring and recording, I would like to be recorded for your company… I have 7 children to b(u)y fore. Do let me hear from you right away you know what I mean.
Thanks
Nappy Brown
(Don´t Be Angry)
Nappy undertecknade även brevet med Don´t Be Angry (Det var titeln på en av Nappys största succéer. Jag var inte arg på honom…).
December 3, 1979
P.O. Box 134
Pomario, S.C. 29126
Hello Mr Jonas, Hope you are doing OK.
I´m sending you this note cause it very impatiant if you could I wish you could send that money before Christmas is only 3 weeks off. And I really could use it. Look if you could do me a favour stead of sending two hundred could you send 3 and take it out of the next shipment.…You would I have 7 children to b(u)y fore. Do let me hear from you right away you know what I mean.
I don´t no if you can do that or not. But I hope you can
Thanks // Nappy Brown
Därefter anlände ett brev från Nappys manager:
James Evans ARTIST REPRESENTATIVE
200 West 57th Street
New York
NY 10019
Sept 10, 1979
Jonas Bernholm,
Our office has handled Mr. Nappy Brown´s affairs for Twenty years. Nappy Brown has been doing Gospel Work during the past years. Mr Brown has advised me on the phone that he is anxious to do the shows. He would like to know if the shows you have, detail Gospel Work, Rhythm and Blues or whatever,
Thank you very much
Sincerely yours
James Evans
Vi ville helst ha direktkontakt med artisterna. Jag antar att James Evans ville att allt skulle gå genom honom för att kunna få de kanske 20-30 % som skulle bli hans andel av vår royaltybetalning. Jag var också förvånad att Nappy hade en så högprofilerad manager och agent. James Evans hade varit ”artist representative” för Wilson Pickett med flera på 60-talet. Det dröjde några år innan Nappy kom hit. Men hans LP på Mr R&B Records hade kommit ut och vi kunde skicka honom hans royalties.
SCREAMIN´ JAY HAWKINS
Jag hade kontaktat Screamin’ Jay eftersom jag ville ge ut en lp med honom. Norbert Hess hade hjälpt skivbolaget Red Lightning med material till en lp, men Jay hävdade emfatiskt att han hade mycket mera material hemma i garderoben. Jay var en utmärkt brevvän. Breven var väldigt uttrycksfulla. Och om han skrev breven själv så hade han en fin handstil som liknade hur han skrev sin autograf. Annars så visade sig många artister ha en ganska typisk kvinnlig handstil. Då var det deras fruar eller flickvänner som skrev ut breven efter diktamen.
Jag hade berättat för Jay om våra planer och en dag fick jag en kassett från honom; med de låtar han hade masterband på i sin stora garderob.
På den står S J H AND HIS SONGS TO MAKE ALBUMS prydligt textat. Och på den andra sidan står det MORE SONGS TO RECORD.
Så här lät den kassetten – där Jay med sin otroligt uttrycksfulla röst sköter presentationen;
Jonas!!!
I have already mailed you a letter. I answered it where you said you wanted some weird things like ALLIGATOR WINE, WHAT THAT IS.
You said you wanted a saxophone; piano combo. You wanted NOT too modern blues. So what YOU really wanted is hard core blues and a few weirdies. Plus the other letter I sent you where I wrote about the other tunes that I had. So here are songs that I recorded – nobody has heard. I start off with a few weirdies and then I get down to the hard core blues. I notice on all your Route 66 albums you have eight on each side. So just remember if there is not enough here to satisfy you I do have more.
The first song is entitled ”I‘ve Had It All” (som var en uptempo låt med en intressant text om ”mat”):
Monkey toes and string beans,
Roast baboon sallad smothered with bubblegum,
Barbequed gorilla ribs,
Mosquito pie,
I’ve had it all!
Nästa uptempo låt var också uttrycksfull;
I met this chick,
she really was exciting,
she had a real dog face,
asked me to her place,
Voodoo!
Jag hade sagt till Screamin’ Jay att jag ville ha material som inte tidigare var utgivet men nu följde 3 låtar från en lp på skivmärket Planet utgiven i England som jag redan ägde. Det var en ganska misslyckad lp som fokuserade på en Jay som drömde om en karriär som en sofistikerad nattklubbssångare. Sammanlagt innehöll bandet 19 låtar. De flesta kände jag igen sen tidigare. De var inte tidigare outgivna som Jay lovat. Slutligen tog Jay tag i mikrofonen igen och skrek;
Jonas!!! I must be honest with you!
I didn’t think I had enough side…I’m sorry, I did not think I had enough tape on this side to put all 16 songs to make one album. But I see I got a little space left so what I’m gonna do – I’m gonna now play for you what I think you might like as side 2. And if I run out of tape, don´t worry, I’ll pick it up on the other side and continue.
This is just to give you an idea about what I mentioned in my last letter to you of the type of songs – I have a VARIETY, I’m loaded. I have got more songs than I know what to do with it. Finished products and nobody’s ever heard. But I let you be the judge of it.
So now we gonna try to give you sounds that perhaps you like to put on the album and start off the second side with. The first selection will be called “My Marian” (som också fanns på den Engelska Planet LPn).
De låtar jag inte hört förut var oftast ointressanta ballader. Det fanns bara ett par tre sånger som var tidigare outgivna och som visade den Screamin’ Jay jag ville ge ut. Detta var en besvikelse. Jay hade inte förstått vad jag ville ha. Eller så saknades den typen av sånger i hans ”garderob”. Bandet avslutades med ännu en kommentar från Jay;
Well Jonas, there you have it. The weardest, weardest, weardest! things I have. Cause there are some more. I got a song called “21 Eyeballs”. I got a song called “Cow Lies”, I´ve got a song called “Cow Lips”. I´ve got quite a few songs for you, Jonas. I want you to sit back now, because I do sincerely believe I have given you food for thought. And then I want you to down and write me a nice letter. Tell me about the things that we are going to do this year. How soon we are going to do them. And LET`S TALK BUSINESS!!!
I hope you are well, I hope your family is well, if you are married and got kids, if not – I hope your girlfriend´s well. I hope the weather is good I hope business is flourishing and I hope you got plenty of money and I hope you make a whole lot of money and I hope I make some money with you.
There is not much more I can say now. I have just about given you everything you need. I have pictures, autobiography, promotional. I have everything prepared for you to send in the mail once I know we are going to do a deal… I hope that you like this cassette and I hope that I will hear from you very soon.
Please say hello to Bill Millar for me, and everyone else,
Take care of yourself
Write soon.
This is Screamin’ Jay Hawkins signing off. Looking forward to the mailman to rest at my door, any day now with a wonderful message from you.
De här kommentarerna var det bästa med bandet. Jay hade en otroligt uttrycksfull röst. Det var faktiskt en ren njutning att lyssna på honom när han pratade (förlåt SKREK!) på full volym.
BREV nr 1
GLITTER MANAGEMENT, 401 WEST 56th ST
NEW YORK
N.Y. 10019, SUITE K (212) 582-3629
J. Hawkins & L.L. Dulfon
TALENT MGT DELIVER MUSIC Pub. (B.M.I)
Dear Jonas,
I received your three albums, picture of Roy Brown and the statement called ”What the Press Says About Route 66” and of course your very nice letter.
I sincerely thank you for taking the time to put it all together and then send it to me.
Being an avid record collector, especially of the original artists of rhythm & blues and having Wynonie Harris in the year of 1952, take me under his wing as his personal protege and got me my first night club job in New York City, I’m sure you can realize my appreciation of being able to own such rare and indeed wonderful albums in my collection. Again I thank you! For your time! Your interest! Your consideration! And what I hope the beginning of a brand new friendship! And I shall write Bill Millar who I consider a very dear friend, and thank him also, for giving you my address.
Yes! I did make a deal with Red Lightnin Rec with the help of Norbert Hess. Which began over 2½ years ago. Since then, for extreme personal reasons – I do not consider me……a friend of Norbert Hess. And I did write him and informed him of that consideration and decision. And I sincerely hope that I never, ever hear from Norbert Hess again.
The deal between myself and Red Lightnin’ Rec. has been negotiated and completed. And I still cannot tell you, to this very day, why they have not released that record (Red Lightnin’ Album) as of yet. Even though I received the letter a few weeks back from Peter Shertzer himself that his company Red Lightnin’ Rec. was still in the process of releasing an album on me. They paid me. The album is not out and I am curious but, there’s nothing I can say.
I have in my possession enough ”finished product” material to make at least 10 more albums. Songs that nobody has ever heard me sing, songs that I would like to be out and on the market.
If you are interested I would like to furnish you with what I have in my possession. Judging from the way you do business, judging the things Bill Millar says about you, reading what the ”press” says about Route 66 – who knows – maybe we can do business together. And you can have an album out on me before Red Lightnin’ Rec. They are so damn slow that I have lost interest.
Business is business, bullshit is bullshit!
I would like for you to think it over and let me know exactly in dollars what you pay to obtain the finished products that I have and also what you pay percentage-wise in royalties, wholesale and retail. And if it’s not asking too much how much would you charge me for an Amos Milburn album including the shipping cost. And if you could possibly work a tour or arrange a tour for me to come to Europe – what kind of money are we talking about and how long?
Again I thank you for your letter, the albums and the information on Route 66 Rec. I sincerely hope that I shall hear from you soon. I look forward to doing business with you. And I shall seek out Nappy Brown and give him your address as you requested.
Respectfully Yours
Screamin’ Jay Hawkins.
BREV nr 2
GLITTER MANAGEMENT, 401 WEST 56th ST
NEW YORK
N.Y. 10019, SUITE K (212) 582-3629
J. Hawkins & L.L. Dulfon
TALENT MGT DELIVER MUSIC Pub. (B.M.I)
Dear Jonas
Thank you for your letter dated May 28,1979. I too feel it’s a pity we did not get together earlier, because I get the impression that, you do know what you are doing and that Red Lightnin’ Records does not. I don’t even think they know what time of the day it is. And yet, as I stated before, they even paid me for something that is still not on the market. However, as I stated, I have many more songs that you can release.
But first, allow me to answer your letter as you requested. First of all, there are songs that I have taken a band into the studio, with a full-size band, recorded stereo and I have the ”MASTER’s” here in my home.
At that time I was recording a great deal of material for the purpose of selling to people involved in ”tax shelter releases” for x-amount of dollars up front, with a royalty clause (foreign & domestic) and also, a mechanical clause for my own compositions. And of course, artist royalties and of course publishing royalties. Which I do have my own publishing company. Which of course, I would be willing to work a deal with you so you could sub-publish from your end there in Sweden.
I’m going to give you a list of tunes that I have in my possession that cover all styles and faze of music period. For example: the tapes or should I say the finished products that I have in my possession, were made from July up to December, 1978. This is how old they are. That is the answer to your first question. Your second question, ”what backing?”
Starting with a 5 piece band, going up to a 23 piece band, strings and vocal groups. And when you asked what style, I do have ballads, R&B, Rock and Roll, swing, jazz. You ask me do I think they will fit within the range of Route 66 image. I say, yes, to the Rock and Roll, R&B, and swing. I say, a possible, for the ballads. Meaning of course, if there is one ballad on each side of the album.
I say, no, for the jazz. I say yes, for all of the finished products that I possess if you put out an album on me titled, ”Screamin’ Jay Sings It All”. For the other songs previously discussed in this letter you could have a or some albums titled ”Screamin’ Jay Sings The Blues”. Or a better way to refer to the past, you could use a title called ”Screamin’ Jay Sings the Year Nineteen Hundred & Yesterday”. Then you can involve any type of style in an album like that.
”My Heart Tells Me” – a ballad. ”You Keep Me Hangin’ On” – rock. A laughing version of ”I Put A Spell On You”. Bathroom Window” – rock. ”Looking Back” – swing. ”The Thrill Is Gone” – blues. ”Twelve Bar Blues”- reggae. ”A Folded Flag” – reggae and rock. ”I Don’t Want To Leave You”- blues. ”We Love” – a ballad me and my wife singing. ”Game Of Love” a blues ballad, with strings and vocal group. ”Your Kind Of Love” rock n roll. ”I’m So Glad” – rock n roll. ”No Son Of Mine” – beautiful folk. ”The Cleaning Lady” – beautiful folk. ”Alligator Wine” – weird. ”Angel Of Hell” – rock.
These are just some of the finished products I have available for pressing and releasing right now. However, I must have at least 250 or 300 more tunes I could record for you if you can work a tour somewhere in Scandinavia.
We could either go into a studio or I could rehearse my show (that is if you could possibly work a tour this year) so that we could record the same show and make an album, either in the studio or in front of a ”live” audience. That is, if I should do a tour for you. Or you could have the tapes that I have and make one or a few albums from that. I just wanted to answer your questions and also give you food for thought.
The only thing I don’t understand Jonas is the type of money you say will go to me, if we make an album. (I can not tell you how much money in advance because I don’t understand exactly what it is you want. – I see 2-3000 copies of lp which will please your old fans. – I understand that but, I do not understand – If 1 $/LP will go to you is that OK? – How much in advance and how much later? – 2-3000 lps in 2 years and then hopefully 250/years for 10 years).- I do not understand all of the above. Please be more explicit in your explanation so that I may comprehend what you are trying to say and clearify your words more clearly.
I like the idea about a 7-14 days tour in Scandinavia. I have the band to give you the sound you want. I am enclosing the name and address of an agency in England who wants me there this year. They have just written me a letter asking me my terms and requirements for a ten day tour which would include a minimum of 8 shows. I told them, for me by myself, I would require $1000 dollars a day, 2 round trip airline tickets for me and my wife on any kind of airline tickets except the DC 10 or a 727. By now I am sure you know why. The choice of planes I mean.
I also told them if they wanted my band too, it would be 2500 dollars a day. With or without the band – my wife is part of the act. All total, we’re talking about 7 people. I think it would be beneficial if the promotors you are going to work with, that may book me in Sweden or 7-14 day in Scandinavia, to work with this agency that wants me in England this year. That way your promotors and the English agency could work together and shoulder the expenses. I could work England and then go to Sweden or I could go to Sweden for the Scandinavian tour first (and possibly record for you, unless you use the tapes I got) and then go right into the English tour.
So think it over and discuss it with your promotor then contact the English agency in London and see if it won’t help everybody concerned.
I am enclosing a zerox copy of the John Morris Management & Agency letter I received from London for your future correspondence. I will also enclose a zerox copy of your letter to the English agency myself, so that they may contact you. Hopefully to work out the same type of tour.
Here is ”Bullmoose’s” address: Benjamin Jackson, 4201 Illinois Ave, N.W. Washington, D.C. 20011
Nappy Brown is in North Carolina. I’ve been told over the telephone just now that they will call me tomorrow before I mail this letter and give me Nappy Brown’s address so I can send it to you in this letter.
I can only hope and pray that they will keep their word. If not I will have to send Roscoe Gordon and Nappy Brown and hopefully Larry Darnell address in a later letter. But I sincerely believe that Larry Darnell is dead.
However, I shall find out the truth. I am pleased with everything your letter said and offered. Except for the money for the albums and the advance which confuse me.
Thank you very much for the extra LPs. This is truly my kind of music. I look forward to working with you in making an album for Route 66 and I hope someway, somehow, we can work out a tour for 7-14 days, and I hope to hear from you soon.
Sincerely Yours
Screamin’ Jay Hawkins
PS: Just got a hot flash off the telephone on Nappy Brown
5703 Leake St, apt 19, Charlotte, North Carolina 28208
Try to pick up the other names later.
SJH citerar mig ovan när jag försöker säga att en bra lp med SJH kan förväntas sälja 2-3 000 exemplar under de första två åren och därefter sälja 250 st lp:n/år under en tioårsperiod (summa: 4 – 5 500 st). Jag försökte förklara att mitt bästa scenario var en försäljning på cirka 5 500 st under 12 år framåt. Det skulle innebära 5 500 USD till SJH.
BREV nr 3
GLITTER MANAGEMENT, 401 WEST 56th ST
NEW YORK
N.Y. 10019, SUITE K (212) 582-3629
J. Hawkins & L.L. Dulfon
TALENT MGT DELIVER MUSIC Pub. (B.M.I)
Dear Jonas,
It is I, who should be thanking you. Not only for your letters, but also for giving me an opportunity of 1- coming there and doing a tour this year or no. 2 – sending you the material to put out an album, on me, plus, still being able to come to Sweden and do a tour in Sweden, as well as other Scandinavian countries.
In your last letter to me, of which I am answering now, you did not mention if you received my last letter with a xerox copy of the agency in England, who wants me to do a tour there, this year also. If you have not received that letter yet, please let me know at once, and I will rush you a copy of that letter.
As the last letter to you, I had hoped that you and your promoters there in Sweden could work with the England agency and that would help on the expenses and all the money concerned. And, it would make one plane trip from the United States to England or from the United States to Sweden. I would then do a tour in Sweden first and then move from Sweden to England and do a tour there for the other agency I mentioned. Or, I would go into England and do a tour and then come into Sweden and do a tour for you. And then, I can make one plane trip to Europé and one plane trip back to the United States. And I would have covered both tours.
That is why I informed you about the English agency about you, and that is why I informed the English agency about you, who also wants me there this year. So that you both could work together and share the expenses and still have 2 tours with one trip to Europé.
This way the $1000 I am asking per night, can be shared between your office and the English office. Please let me know if you received that letter, before this one. And please let me know if my suggestion is agreeable to you.
Yes, I can give you material like ”Alligator Wine”. And also a sound like ”What That Is”. Yes, I can give you a tenor sax combo, including piano, with ”not too modern sounding in arrangement”. What you are asking about is called in musical terms, pure unadulterated, funky, rut-gut blues.
Yes I have that type of music here on tapes. For example, I shall make you a tape of the weird material your letter asked about. And I shall have that in the mail to you this weekend.
Your contract with NCB (Scandinavian BMI) will do just fine. We shall share the publishing together on all songs I send to you or, I come there and record for you. Whichever way you like. The 2500 usd is fine with me. If we sell over 4000, over the years, I shall rely upon you to pay me more, as we sell more. We do not have any problem in that department.
Before I forget, let me thank you for all the wonderful sounds you sent me on the Route 66 albums. You’ve given me a treasure of music which I will always cherish. It’s the kind of music I grew up with. It’s the kind of music I do best. With the exception of the weird type of music I am best known for.
Again, let me say, I will make a tape for you and put songs on there for you to hear. Different from the songs I wrote you and told you I also have. The tape I am about to send you will be that of a tenor-sax and combo and piano. The type of music your last letter just asked for. After you hear the tape then we can discuss by mail, whether you want me to make an album for you by tapes through mail, or, if you would like me (when I come to Sweden to do the tour for you) to record the same songs ”live” and make an album that way. We can also discuss how I am to be paid the $2500 dollars and when. And we can also discuss the monies for tours.
All of this discussion should begin now, in your next letter to me, so we can start preparing for the tour. And of course, the album. So do not answer this letter until you have received the tape I am going to send you. Then answer this letter. Then tell me about the tour. Then if you’ve been in contact with the agency in England and, let’s see if we cannot get the ball rolling.
Now is the time to start. If we are going to do anything at all together, this year. So please, keep this letter handy, until after you’ve received and you have listened to the tape cassette I am getting ready to send you. Then when you answer this letter…we can discuss (everything).
Last week I had the pleasure of going down to a night club and seeing in person, for the first time in the last 25 years, the one and only, Nappy Brown. I showed him the letter you sent me, which said, ”you had some money för him”.
He cried, and he thanked me. I gave him your address and I told him to write you right away. I told him, I had sent you the only address I had on him. He said, he was no longer at that address. Then your letter came today which said the same thing.
Anyway, he gave me his new address and phone number, so I am now sending it to you. He can use the money. He worked two nights here in New York City, last week. He got robbed, pay night. He went home broke. The money you send him will be to him like a blessing from GOD.
Napoleon ”Nappy” Brown Culp, Route 2, Box 156, Pomaria, S.C. Phone number …(803) 276-8826.
I shall be looking to hear from you, after I have sent you the tape cassette. Meanwhile, take care of yourself.
Sincerely Yours
Screamin’ Jay Hawkins
BREV nr 4
Dear Jonas
Sorry it took me so long to answer your letter but I am doing one nighters up and down the coast. I’ve been back three days. Normally, I believe in answering letters right away and I always look forward to receiving answers back immediately. I can assure you, I will answer your letters much faster in the future.
I know the type of songs and music you want from me, in order to put out a good album on me. I will put the songs together that I believe will make the perfect album for you to release on me and send you a tape cassette of it. If you like the tape cassette then we can discuss you sending me the 2500 usd and I will put together good clean tapes to send to you to make the albums with. So when you hear from me again it will be the tape cassette of the songs that hopefully will be my next Route 66 album.
By the way, Nappy Brown called me on the phone and asked me to handle his booking and his money with you in Sweden. I asked Nappy to send me a written authorization, giving me power to do that.
However I have not heard from Nappy since. Since Nappy does not know how to do these things I suggest you offer Nappy, what you think is a fair price airline tickets and hotel when you next write him about doing a tour.
Because, I truthfully do not wish to be involved in trying to handle another artists business. And he fails to show me the interest in himself that I thought he was capable of showing. So please write Nappy again and offer him what ever you think is fair.
Take care of yourself, until I write again.
Sincerely Yours
Screamin’ Jay Hawkins
BREV nr 5
GLITTER MANAGEMENT, 401 WEST 56th ST
NEW YORK
N.Y. 10019, SUITE K (212) 582-3629
J. Hawkins & L.L. Dulfon
TALENT MGT DELIVER MUSIC Pub. (B.M.I)
Dear Jonas,
Sorry I’m late in getting the answer to your last letter out. As you know by now, I try to answer your letters as quick as possible in order that I may get an answer back from you, as quick as possible.
First of all, let me say this, all the songs that Peter Shertser of Red Lightnin’ Records, plans to release, one day? At one time or another have already been out. Even if it was before I was Screamin’ Jay Hawkins. Mostly every song I’ve recorded period, has either been rerecorded by me with a new melody version or both melody version changed or lyrics changed. So that I would be able to have copyrights in Washington D.C. on everything I’ve ever recorded, applied to my catalog of songs under my publishing company and administered by way of B.M.I. or ASCAP, through a company I own called GLITTER MANAGEMENT. A New York licensed company at the same address which I live.
If you stop and think about the first correspondence I sent you, You will remember, I gave you a whole lot of songtitles I have finished product on that no one has ever heard. Except me and the band and the vocal group who recorded them. True, on the tape cassette I have sent you tunes that have been out before, but I still own them and I have the right to rerelease them. The same way I gave Peter Shertzer the rights to rerelease some of my old stuff.
Yes…I do have some original tapes from the Planet session. Some are also Blues Ballads.
In other words Jonas, I have a closet in my apartment as big as any full size engineer studio, with all types of finished product, never been released to the world before.
However in one of my previous correspondence, I also mentioned I could come to Sweden for you and record a ”live” session with the audience and at the same time give you all 5 pieces, blues combo style, album that’s never been heard before, plus bringing enough tapes that I have in my closet to make at least 3 or 4 more albums of the same type of songs you want, that’s never been heard before.
Now I want to be honest with you Jonas. I feel we are wasting more time talking about song titles, the type of music you want (which I clearly understand) sending tape cassettes for your approval, then is really necessary. I know and you know I know, what you want. I feel whether I use tapes or come to Sweden and give you a live recording session, I feel you will be happy and I also feel you will get precisely what you want. There are things I need to know in your next letter to me. And it is imperative that I know as soon as possible.
No.1. Are we coming to Sweden this year or not?
No.2. If so, what dates? How long and what kind of money are we talking about? We have settled the money for the albums. The band and I need to know more information about the tour.
No. 3. –Have you been in contact with the John Morris Agency in England?
Working with that agency will definately cut the cost of all monies regarding a tour in the Scandinavian countries and England. Provided you two work together.
Please give me this answers upon receipt of this letter. I do have other booking decisions to make this year.
Thank you for your promptness, your time, and consideration in this matter.
Sincerely Yours
Screamin’ Jay Hawkins
EDDIE BOYD
Eddie Boyd inledde skivmärket CrownPrince bluesserie. Där försökte vi samla artister med en klar bluesprofil och som därför även fanns listade i diskografi-bibeln ”Blues Records” av Leadbitter-Slaven. Namnet tog vi från R&B-artisten Crown Prince Waterford.
Eddies “Five Long Years” var en av de största Chicago-bluessuccéerna genom tiderna. Eddie Boyd var född i Mississippi men hade slagit sig ner i Finland och gift sig med Leila (Boyd). Det kändes som om Eddie flyttat så långt som möjligt från blueskvarteren i Mississippi och Chicago och rasismen i USA. Han hade turnerat med Lippmann & Rau’s Folk Blues paket under 60-talet. Han fick nog inte så mycket engagemang i Europa som man kunde väntat. Anledningen var kanske att hans föreställningar dominerades av ett mediumtempo som kunde bli en smula enformigt. Dessutom föredrar publiken ofta gitarrblues framför pianoblues.
Helsinki, September 18, 1979
Dear Jonas,
Thank you for your letter of the 11th, received yesterday.
I accept your offer about the royalty on the re-issues from Chess and RCA. I´d appreciate very much if you could send me some copies of the records, when the time comes.
I have confidence that you’ll live up to your obligations, as so far, my experiences with Swedish companies are positive: among all record companies, small and big, they’ve proved to be the most reliable ones. I believe that you won’t let the Swedes down.
I look forward to hearing from you again and receiving the contract soonest possible.
Hope we can meet in person sometimes,
Kind regards,
Eddie Boyd
PS. Would be happy to have some samples of your records already out.
Hans fru Leila, som troligen satt bakom skrivmaskinen, höll kontakten med oss genom åren och uppdaterade oss om de olika krämpor som Eddie hade. Hon skötte om honom på ett exemplariskt sätt. Han blev 79 år gammal (1914-1994), en mycket hög ålder för en bluesman.
När vi var i Helsingfors 1983 med Nappy Brown kom Eddie Boyd till hotellet. Det var mitt i vintern och mer än minus 20 grader. Jag blev orolig när jag såg att Eddie hade skadat ena foten och att den inte var skoförsedd utan inlindad med ett stort bandage.
Nu hade han på eget initiativ spelat in en lp. Bland de finska musikerna märktes dragspelsvirtuosen Pedro Hietanen. Mest känd för sitt arbete med M.A. Numminen som gjort satiriska uppdateringar tillsammans med den finska musikereliten av föraktade sånger som Bobby Vee’s ”Rubber ball” (Gummiboll) i bokstavstrogna översättningar och förvandlat dessa till musikaliska mästerverk.
Nu ville Eddie att hans nya inspelningar skulle ges ut på lp. Jag kommer inte ihåg villkoren men jag antar att det var en kombination av gratis exemplar av lp:n och kontanter baserade på en ganska låg försäljning av Stockholms lp:n (RJ-204).
CHARLES BROWNs penningbekymmer
Två ämnen återkom ofta i korrespondensen med Charles Brown. Pengar och att han flyttat till en ny adress. Ett huvudämne i hans universitetsexamen var matematik och han hade arbetat som kemilärare innan musiken tog över. Han kände sig säkert hemma med siffror och de odds han fick på kapplöpningsbanorna. I början av hans musikkarriär delade han en liten enrummare med kollegan Frankie Laine. Därefter hade Charles spenderat mycket under sin karriär; på kläder, bilar och inte minst på hästkapplöpningsbanan. Även nu hade han svårt att hålla koll på pengarna.
(June 15, 1978)
Please remit it to 1356 W. Exposition Blvd Los Angeles, Cal. 90018
January 20, 1979
Dear Jonas,
Received your $ 200 money order. I was looking forward to $ 400 according to the time elapsed when you would send each $200.
Thanks anyway but I really needed the other $ 200 in getting myself ready for the overseas tour.
As you know one cannot leave too many things undone here at home before leaving.
If there is anything due me I would appreciate an immediate delivery at your earliest convenience.
Per Notini has contacted me and I am writing him today alas
How did you enjoy your USA tour? Sorry I did not get a chance to see you, but I heard later that you were asking of my where abouts. I received your letter the day you were to leave New York from the hotel. I tried to call but you had checked out so I was told.
However, always wishing you success with your recording interests,
Sincerely
Charles Brown
Charles Browns turné ägde rum på våren 1979.
(May 13, 1979)
If you could do me a favour Jonas. I have a nice little place to stay now and I am making new plans for a comeback through you.
Jonas, as you know I appreciate your interest in me as an artist and I will do all in my power to keep that interest.
I could use an advance on my recordings to help with my furniture and other “incidentals” for my place.
If you could advance me any money I would be more than obliged. I need another $ 1000 to make my house liveable.
Sincerely
Chas.
6248 S. Wilton Place
Los Angeles, Cal. 90047
USA
(March 1, 1980)
I received those wonderful recordings and as you said it is the best I have done in 15 years.
I do really like the way you arranged the tunes or should I say the order in which you put them on the album. I do think the resumé of the Charles Brown album is very good, but the only correction that I find very necessary to change is my age. – I was born September 13, 1922 – not 1920. I do want you to correct this because this age has been in all of your writeups, and since you are supposed to be the source of bona fide information the public is expecting the truth from you.
The entertainer Willie Mabon who sang “I Don´t Know” was here from Paris France. He visited my house and mentioned the musical outlet for me in Paris was great. He said he would help me toward future bookings there.
So best regards to your family and Slim,
Yours truly,
Charles Brown
Jag hade påverkats av Charles. Han talade ofta om att en föreställning måste ha en bra balans mellan snabba och långsamma låtar och blues och ballader. Blir det för många långsamma låtar kan publiken tröttna. Blir det för många snabba låtar kan publiken bli uttröttad.
Charles Browns första och kanske största hit, ”Drifting blues” blev hans signatur. Han var lika hemmastadd överallt. Han hade en osviklig förmåga att charma sin omgivning och hitta nya vänner. Vi höll kontakten alltifrån hans första Route 66 LP (KIX-5).
Charles var en passionerad spelare på hästar. När han inte jobbade föreföll hans dagar mest bestå av förberedelser genom att läsa travtidningar och se vilka hästar som skulle springa härnäst. Nu är det ju i det långa loppet omöjligt att kunna tjäna pengar på hästkapplöpningar om inte man i förväg fått reda på att loppet är riggat. Eller om man tillbringar dagarna med att studera träning och dagsform. Jag vet inte hur mycket av de totalt satsade pengarna som går tillbaka till spelarna. Kanske 70 %? Men definitivt inte 100 %. Charles hade kort sagt alltid behov av pengar.
Jag hörde Charles och ”I’m gonna push on” (Galaxy Records) första gången i San Francisco 1968. Samtidigt satt Svarta Pantrarnas grundare Bobby Seale och Huey Newton fängslade i San Francisco och demonstrationer för deras frisläppande pågick hela tiden. Jag trodde att ”I’m gonna push on” var en personlig kommentar till det politiska läget. Men Charles berättade att han skrivit låten efter att gayikonen Jayne Mansfield hade dött i en fruktansvärd bilolycka mellan Biloxi och New Orleans. Hon sägs ha blivit halshuggen vid kollisionen. Det var hennes olycksöde som inspirerat Charles.
ROY BROWN
Roy var alltid direkt och rakt på sak. Han var stolt. Samtidigt tror jag han kände att jag hade en oerhörd respekt för honom. Jag betraktade honom alltid som den ledande 40-tals artisten. Han var före sin tid och banbrytande. Han hade varit James Browns favoritartist under 40-talet. Elvis Presley följde efter honom när Roy uppträdde i Memphis med omgivningar, innan Elvis egen skivkarriär hade startat.
Vi brevväxlade. Jag kände att han inte förstått vilken hans huvudsakliga publik skulle bli i framtiden. Han hade en lp med sig till Sverige som han spelat in för egna pengar och pengar han fått av en granne. Den vände sig till en publik som ville ha vågade texter och ett och annat skämt under bältet serverat med funkig musik. Jag tyckte den var misslyckad.
Det tog lång tid att få Roy att förstå att han borde göra en comeback-lp live där man kunde höra att han hade rösten kvar och fortfarande kunde sjunga sina gamla hits. Det var ju inte helt självklart. Själv sa han att det berodde på att han aldrig rökt. En live-lp var det mest kostnadseffektiva sättet att visa detta. Sen kunde han, om han ville, vänja publiken vid en ”ny” Roy Brown.
Roy skrev sina brev på skrivmaskin med stora bokstäver rakt igenom. Jag tror inte det var fel på skrivmaskinen, utan Roy var en person som både som artist och korrespondent ville få fram sitt budskap med acklamation. Han använde helt enkelt alltid stora bokstäver.
Jag ser nedanstående brev som en vändpunkt. Det var också det sista brev jag fick från Roy. När han säger att han inser vad hans publik vill ha tror jag att han förstått att han nu har en ny vit publik mellan 20 och 40 år som gillade gammal Rhythm and Blues. Han hade dessutom inlett ett samarbete med ”Roomful Of Blues”, det bästa R&B revival bandet vid denna tid.
Samtidigt insåg han kanske inte att vi var helt inställda på att återuppväcka intresset för äldre Rhythm and Blues och att ge äldre R&B artister en chans till en ny karriär. Vi hade helt enkelt inte ekonomi att göra nya studioinspelningar eller att försöka locka tillbaka hans publik från 40- och 50-talen. Vi hade inte heller resurser att anordna återkommande konserter. Högst en turné per år för att återintroducera en artist. Vi kunde inte ta ett långsiktigt ansvar för en artists karriär utan jobbade mer som Lippman & Rau eller andra festivalinriktade arrangörer. Vi ville ge artister en chans till en comeback, men sen fick andra ta över. En återutgivnings-lp med en artist var startpunkten och en live-lp skulle underlätta en fortsatt karriär. Men mycket mer än så kunde vi inte erbjuda.
Roy Brown höll kontakten ända fram till sin död. Följande brev var odaterat:
Hi Jonas,
Hope you and the fellows are OK.
Jefferson Magazine took quite a few shots of me most recently. Contact them. They have photos. My East Coast tour begins in early april. Could you rush 50 Good Rocking LPs to me?
Sincerely
Roy
Odaterat TELEGRAM
To Route 66 Records
Hälsingegatan 14 A
HAPPY NEW YEAR TO YOU AND THE FELLOWS PLEASE FORWARD SOON AS POSSIBLE ANY ROYALTIES DUE TO ME THANK YOU
ROY BROWN
Roy dog alldeles för tidigt (1981). Han hade mycket kvar att ge. Han personifierade den tidiga R&B epoken samtidigt som han var före sin tid. Han borde varit självskriven i den första Blues Brothers filmen som 40-talets främste scenartist – vid sidan av Cab Calloway; 30-talets främste scenartist. Mitt sista möte med Roy var när jag sa adjö till honom på hotellet i Göteborg. Han var klädd i pyjamas och hade läsglasögon. Det var nog så hans familj brukade se honom.
CARL E: GARDNER & THE COASTERS
Carl E. Gardner
The Coasters
11 Park Avenue Apt. 2-S
Mt. Vernon,
New York 10550
January 30, 1980
Dear Sir:
I was advised by telephone today by James Evans, our manager, that you were looking for Mr. Nappy Brown and that you were also trying to get in touch with me concerning royalties.
As stated this information was given to me by phone, and I hope the above name and address is correct.
I would like to advice you the Coasters are still around and working. Enclosed is a picture and writeup for you of the group as it is today.
Please feel free to get in touch with me at the above address or by telephone at 914-668-1635 if ever in New York.
Also, if you have time I would be interested in receiving any information on work opportunities in Sweden. It is one country that I have heard much about, but I had never had the opportunity to visit.
Thank you in advance for your response to this letter,
Yours truly,
Carl E. Gardner
Leader of the original Coasters
February 27, 1980
Dear Jonas,
Thank you for your letter of Feb. 4th and records. I have been trying to get hold of old records like them for so long. I am sorry that I have not answered you until now, but I have been out of town on a job.
We are working here in the United States all over, and as I said before we have been to Australia, England, Germany and many other countries.
I have signed the copy as you requested. Please note that when old recordings are released here, the funds received go to the present guys in the group. When an artist leaves our group, they give up the right to receive monies which we are out there working for. I would appreciate receiving a check payable to me, and in return will distribute same.
Billy Guy left the Coasters several years ago, and no one has heard from him since, even myself. The present group has the same sound as the original group had.
Earl (Speedo) Carroll is in the present group of the Coasters. He was the lead on the Cadillacs and he too should receive the royalties for them. He is moving at the moment, so I will send you his new address when I get it. I have spoken to him about this and he agrees.
Concerning the tours in Sweden with the expenses as you stated such as transportation, lodging, etc. paid we would have to get no less than 5000 usd a week, due to our additional expenses such as agent fees, etc.
This 5000 usd would be free of the taxes in your Country whatever they are.
If you can arrange a tour for us, it would have to be worked out with our manager, James Evans. I have spoken to him concerning this matter already.
Also we are interested in recording for your company, if we get the tour, as we are free as birds at the moment. We do all of our old hits as you stated that a tour would be 75-80 % of them.
Enclosed for you is the present Coasters. I trust that I will hear from you in the near future.
Yours truly
Carl E. Gardner.
May 29, 1980
Dear Jonas,
Sorry, that I did not write to you to let you know that I received the check for $400, but I have been out of Town doing concerts across the United States.
As of today, I have not received the 25 copies of the LPs that you were sending by boat or the ten empty record-covers that you wanted Speedo and I to autograph and return. As soon as I receive them, we will sign them and return to you.
Did you see Herb Reed group (the Platters) and the Delta Rhythm boys when they were over there? If so, did you enjoy them?
We are still looking forward to getting a deal over there so that we can come over, (smile).
Earl (Speedo) Carroll will be getting in touch very shortly with you. By the way, how has the reaction and sales been on our LP? I hope that it will sell a million for us.
We are having beautiful weather here now as the summer has arrived it great form. What is your season in Sweden now that we are having summer?
We prefer our summer and hope to make our trip in your summer.
We all enjoy the album. Some of the songs bring back so many memories as I have not kept the records and haven’t heard them in years.
By the way, would you have any albums by Buddy Johnson Orchestra or Erskine Hawkins Band of the 50’s?
I am unable to find any here. If you can get them over there, I would gladly send you the money for them and the shipping costs.
Wishing the best of luck to you, and hoping to hear from you and meet you in person one day.
Yours very truly
Carl E. Gardner
PS: Send us a picture of yourself if you have an extra one.
September 14, 1980
Dear Jonas,
I received the albums and the check sometime ago. The 10 albums are signed and are being mailed back to you in the mail tomorrow. I am sorry that it has taken so long, but with the travelling it is hard to get things taken care of. I hope that they are OK and will arrive safely.
Speedo will be writing to you this week also about the Cadillacs.
So far the people that have heard the album hear (here) really like it. To date I do not need anymore, but will let you know.
Thanks again for everything and hope to hear from you,
Yours truly
Carl Gardner
Jag tyckte spontant att systemet att alla royalties skulle tillfalla den nuvarande gruppen var oetiskt. Vår uppfattning var ju att de som finns med på en inspelning skall få royalties. Vi satsade oftast på sångaren eller solisten och hoppades att kompmusikerna hade fått betalt enligt musikerförbundets tariff.
Billy Guy var grundare och lead-sångare i the Coasters när de fick sina hits (“Searchin’”, “Yakety Yak”, “Charlie Brown”, “Along came Jones”, “Shopping for clothes” etc.). För mig (och troligen även för Leiber & Stoller) var han den viktigaste personen i gruppen.
När Gardner då säger att:
“Billy Guy left the Coasters several years ago, and no one has heard from him since, even myself.” – då talar han troligen inte sanning. Den här attityden ledde till att Guy senare stämde the Coasters.
Clyde McPhatter lämnade the Dominoes; Billy Wards attityd ses i att gruppen kallades Billy Ward & HIS Dominoes. Billy Ward var en duktig sångpedagog och pianist och var säkert en duktig manager men Billy tog hand om alla pengar och Clyde McPhatter fick en mager veckolön. Jackie Wilson efterträdde Clyde McPhatter i the Dominoes. Även han lämnade gruppen.
Buck Ram var en duktig kompositör och arrangör. Buck Rams Platters hade en fantastisk lead-sångare i Tony Williams, som naturligtvis lämnade gruppen på grund av en ekonomisk dispyt. Etc, etc.
PEE WEE CRAYTON
March 25, 1979
Thank you very much for your letter.
I am very much interested in your idea of releasing an album on me, and I think it would be a great project.
You have my go ahead. A release date of Christmas or sooner would be fantastic. Please let me know how things are coming along.
I appreciate you letting me know that I have fans in Europé and that the possibility exists that I might one day tour in Europé. Thank you again for your interest.
Pee Wee Crayton
LARRY DARNELL
Darnell var enligt alla uppgifter – bland annat från Ruth Brown – en omtyckt och välkänd R&B artist. Under arbetet med hans lp blev jag uppringd av en kamrat till honom som sa att Larry hade blivit allvarligt skadad när han blivit överfallen. Han var inte längre kapabel att uppträda. Det band jag ville att han skulle skicka, där han berättade om sin karriär och sig själv, blev ofullständigt och kortfattat. Jag antar att hans brev (april 1980) skrevs av kamraten.
Dear Jonas!
I am all for the album and also tour no matter how long it takes, I do not have a regular job as the accident I had won’t allow me to do any manual labor.
I was mugged by three men in “Akron” Ohio and had to have brain surgery, a broken arm and three broken ribs. But thanks God all is better now.
I’m still on medication and have been back to the hospital since then and visit my doctor once a month.
No, I have not “given over” to gospel completely but I do enjoy it.
I was also pleased to know that you are recording Billy Wright. He´s one of my very best friends.
Thanks again for the beautiful records. Please keep in touch.
God bless you and yours,
Sincerely
Larry Darnell
Larry var en så kallad Brown Skin Model och förefaller haft en liknande bakgrund som Billy Wright. Var det ett hatbrott han blev utsatt för?
Oct 23, 1980
Glad to know the album is still in process as several of my friends have called me a liar saying they don´t believe that you is going to do it. …I only had the clippings and pictures which I sent to Peter (Grendysa) quite some time ago. I don´t even have one of my old records but several of my old friends do.
I really enjoyed reading about Ruth and Charles as they are really old friends.
I´m doing fine just “dressing” and resting.
Sincerely
Larry Darnell
Larry dog 1983 vid 54 års ålder. Han fick ingen pånyttfödd karriär, tyvärr. Jag har en känsla av att de skador han fick var allvarligare än vad han själv beskriver.
LOWELL FULSON
Jag kontaktade både McCracklin och Fulson via telefon när jag var i USA 1978/1979. Och fick tag på bägge. Fick sen följande brev:
5602 Springhill Pl.
Los Angeles,
Calif. 90043
2-1-79
Dear Mr Bernholm,
I received your letter today.
Yes, I am interested in the projects. You can send the tapes to Los Angeles.
If you can get me a tour over there and some place I´ll come.
This is my address
Lowell Fulson
5602 Springfield Pl
Los Angeles,
Calif. 90043
Telephone No. 293.3212
P.S. I am interested in the project.
You can give that guy my address the one who booking Charles Brown and you can tell him he can book some date on me.
Sen var Fulson i Sverige på turné, (som inte var anordnad av oss). Och vi återknöt bekantskapen och han skickade följande brev:
Los Angeles
5602 Springhill Place
1-5-81
Mr Jonas Bernholm
I enjoyed my tour. I appreciate if you would send me the 400 usd for released my LP, because I´m broke (smile).
I´m still waiting on a tour with you.
PS: B&E LP has been released without my approval. Please send me the address where I can contact to get my royalties? in New York Production.
Thanks
Lowell Fulson
5602 Springfield Place
Los Angeles
Ca. 90043
213-293-3212
PAUL GAYTEN
Paul Gayten (KIX-8), var en producent och branschpersonlighet som också hade en del egna skivsuccéer. Vi ville gärna fokusera på en New Orleans artist som Professor Longhair eller Smiley Lewis, men deras bästa inspelningar fanns redan tillgängliga på lp. Paul Gayten hade däremot inte presenterats ännu;
(June 18, 1978);
I have been trying to get Bill Cook and Annie Laurie address, but no luck. I´m sending you the only pictures that I have. And one with my late friend Nat King Cole.
….on my first record, which is “True”, and “Your Hands Ain´t Clean” Edgar Blanchard (guitar), Robert Green (drums), Doctor Warren Stale (on bass),
I hope when you put the record out you will put my right age on it. I was born jan. 29th, 1930. I’m 48 years old”
These are the tunes I wish you would use on the lp:
True: – That on Deluxe. It´s was very big
Suzzette –
Gold Ain´t Everything – Eddie Barefield (alto), Sam Woodyard (drums), Frank Campbell (bari) Larry Goins (bass), Hank Mobley(tenor), Al Armstrong (tpt)
They All Ask For You – Didn´t sell at all.
Cow Cow Blues was also a big hit (on Okeh).
Paul Gayten skrev ”For you my love”, som blev en stor hit för Larry Darnell. Han startade ett eget skivbolag Pzazz som bland annat spelade in Louis Jordan.
Ålder är känsligt: Om Paul Gayten var född i januari 1930 skulle han ha varit 17 år vid skivdebuten och bara tio år när han blev inkallad i det militära. På skivan har John Broven satt hans födelseår till 1920. Det är mera troligt.
SAUNDERS KING
Saunders ringde från Japan. Han och hans fru var på en turné med svärsonen Carlos Santana som var gift med hans dotter Deborah. Han lät som en försynt äldre man och hälsade så mycket. Saunders egen karriär avbröts i förtid när han blev inblandad i en skandal. Så här ryktades det: Saunders såg mycket bra ut. En vit kvinna visade intresse. Det blev en skandal och Saunders fick dra sig tillbaka som artist. På nätet sägs också att hans fru begick självmord. Han togs om hand av sin församling och kom att ägna tid åt denna och lät artisteriet vila.
RED PRYSOCK (via PAUL WILLIAMS)
Paul ”Hucklebuck” Williams hade den näst största R&B-skivsuccén år 1949 med ”The Huckle-Buck”. Den största var ”Trouble Blues” med Charles Brown. Paul hade husbandet på the Apollo Theater. De kan ses på Apollo R&B filmerna därstädes vid mitten av 50-talet. De är visserligen inte inspelade på själva teatern utan på en studio i närheten, men de återkommande publikbilderna är filmade på teatern.
Paul hade en artistbyrå och bokade in artister. Bland annat hade han kontakt med Red Prysock vars skivor givits ut i Europa på 50-talet. Red är bror till Arhur Prysock, vokalist med Buddy Johnsons Orchestra. Slagsmålen mellan bröderna sägs ha varit våldsamma… Jag skickade Paul de frågor jag ville att Red skulle besvara. Paul läste upp dem och spelade in Red’s svar på kassett.
Paul Williams har ett bra rykte och han räddade även Ruth Brown från ytterligare misshandel av sin man (Se även Jan Kotschacks bok ”Resan Mot Rockens Rötter”). För ett drygt tiotal år sedan blev jag kontaktad av ett barnbarn till honom. Hon ville gärna hålla sin grandfathers minne levande. Hon berättade att hon upptäckt att något lagt ut en av Pauls Saxophonograph lp:n på nätet och tog betalt för lyssningen. (Det var inte jag).
THE THREE FLAMES
Det fanns planer bland de två producenterna på Whiskey Women and… – Kochakian och Moonoogian – att ge ut en lp med the Three Flames.
Tiger Haynes var med i den gruppen. När det musikaliska kallnade fick han in en fot inom filmbranschen. Tiger ringde från Norge. Han var med i filmen ”Apprentice To Murder” med Donald Sutherland i huvudrollen. Den spelades in i Norge där det fanns områden där husen påminde om hur USA såg ut 80-100 år tidigare. Det blev en bra film. Kochakian arbetade som försäljare på ett whiskeybolag, tror jag. Därav namnet på den tidning som hade samma namn som skivbolaget.
Det största namnet på musiker som blev filmskådespelare är Scatman Crothers. Vi samlade på hans 78-or från 40-talet på bolag som John Dolphins Recorded in Hollywood. Inga var extraordinära eller fantastiskt bra, vad jag kommer ihåg.
På 50-60-talen blev det mest TV jobb och sen följde en lysande filmkarriär med roller ibland annat ”The Shining” och ” One Flew Over the Cuckoo’s Nest”, (Gökboet). Men någon skiva med honom blev det inte för oss.
JONAS BERNHOLM, text
