[Karyobin]

AAAAAAAAAAnd Craig has it!!!!!!!!

Well done.

I'm off to ROI

Bye

K

[Ricochet]

Still haven't quite figured out what it's got to do with blues, but I've learned about some "new" products!

[Screwtop Wine]

Interesting that you have a picture of High John the Conqueror Root from Valmor, but the company is not the origin of the root, or it's association with the blues. John the Conqueror root is a staple of folklore medicine in the South.
Valmor also produce such items as Mojo oil(to be rubbed into your mojo bag), the afore mentioned Lucky Mojo Jockey club toilet water and other products obviously designed for the black market.

Karyobin, great question, made me do some digging to find out some stuff, now I gots to get my lucky gris gris bag, given to me personally by Voodoo and Yoruba Priestess Ava Kay Jones before a Neville Brothers concert in New Orleans. check out her website at http://www.voodooshop.com .

[Craig Ruskey]

Hope I didn't steal that from you, Ricochet... and in case there are those waiting for a new trivia question, I think I'm up. I'm pretty new here but I'll give this one a go...

According to Mike Rowe's book, Chicago Breakdown, Leonard Chess once recorded, with such ruthlessness, this normally placid artist who was later quoted as saying, "Im never going to record for that man again!"

Who was he? He contributes two incredibly beautiful cuts to the "Chess Genesis Series - Volume Two - Memphis to Chicago" that were recorded in 1952. This could possibly be the session that resulted in the above quote.

Blueswriter

[Ricochet]

Hey, no problem Blueswriter! It's an open forum.

I don't have a clue as to the answer to yours, though. I'm going down to put the newly rebuilt carburetor on the engine of my old welder I'm attempting to resurrect.

[Craig Ruskey]

Sounds like quite a project. Can you repair cracked Nationals with that thing once it's up and running? I don't have one, but I once played one that had such a poor repair job, I thought of it when you mentioned it on the Big Road site. Wear your safety glasses, bro!

As to my question, I'll wait and see how close some other posters come before I tip any clues... and again, didn't mean to jump in and grab the spotlight. Thanks for understanding...

Blueswriter

[Ricochet]

Hey, you've got nothing to apologize to me about, Blueswriter!

This machine I'm working on's the sort you see welding on bridges on the Interstate and such. I don't think I'd turn it on a National of mine. But I imagine it'll come in handy.

I ran into an unexpected difficulty with a little ball pein hammer I need (for cutting gaskets) that apparently one of my daughter's friends ran off with. I'll get it all back together tomorrow, I expect.

[Muddy Lives]

That would be Arthur "Big Boy" Crudup.

It is interesting that Len Chess was recording Crudup IN Mississippi. I know that Chess bought a lot of recordings made by other producers from various locations, especially Memphis and Los Angeles. But it was very rare for Len Chess himself to go on the road to make a recording.

Joe Bihari of modern records, on the other hand, did that all the time. I wonder if this wasn't a response on the part of Len Chess to the war he was having with the Bihari brothers at the time. 1952 was the probably the appex of the conflict.

But Len Chess must have forgotten to take his Valmor High John the Conqueror Root with him when he went down to Mississippi to record Crudup.

Muddy

[ June 01, 2002, 12:58 PM: Message edited by: Muddy Lives ]

[Craig Ruskey]

Nice goin' Muddy Lives! Also, glad you liked the LaVere/Johnson article link I posted.

Blueswriter

[Muddy Lives]

Given that today is Sunday, I thought that I would get a little "pure religion" deep down "in my heart" with none other than the Deacon L.J. Bates himself.

Now what could the good Deacon Bates ever have to do with that devil's music that they call "the blues?"

[Craig Ruskey]

Deacon L.J. Bates was none other than Blind Lemon Jefferson...

[Muddy Lives]

Now that's what I call quick on the draw.

Good stuff, Blueswritter.

The ball is in your court again.

Muddy

________________

"Hours Pass Like Minutes,
Minutes Pass Like Days."
Willie Brown

[Temple Crew]

After 8 months of great trivia, hundreds of questions and answers, it's time to start a new thread - as of now, we will rotate the thread on a monthly basis! This should help to make the trivia topic more manageable and easier to follow for all.

The rules are the same. Ask a question, get it right, leave a question.

Topic closed - look for the new thread in the BluesIQ forum.

Peace,

The Temple of Blues Crew

[ June 22, 2002, 09:41 AM: Message edited by: Temple Crew ]

[pibseast]

[quote=Muddy Lives,May 13 2002, 09:01 AM]In the interest of defending a proper place for the great Avery Parrish in the blues pantheon, I will have to take issue somewhat with your other conjectures, however.

Firstly, as I indicated in my previous posts, Avery Parrish did record a definitive version of “After Hours” in 1940, which actually became a big hit. The record itself (Bluebird B-11218) was released under the name of the Erskine Hawkins orchestra, the unit that Parrish was working with at the time. But the performance is all Parrish’s piano, with a simple added bass line and a few orchestral riff embellishments thrown in at the end. The composer credit given on the 78 was to Avery Parrish, and to Avery Parrish alone, which brings us to the next point.

Buddy Feyne and Robert Bruce had nothing to do with the blues. They were both under contract at the time to Erskine Hawkins as orchestrators and arrangers. The terms of the contract may have allowed them to claim co-composer credit for new tunes for which they produced charts. At the time, “After Hours” may have been an exception, as it was purely a piano piece. The horn riffs at the end could hardly qualify as genuine “orchestration,” even if a simple chart might have been technically produced by Feyne and Bruce. That is probably the reason that Parrish was given proper credit as the sole composer of the tune during his lifetime.

Only in the early 1960s, shortly after Parrish’s death, does it appear that Feyne got up the nerve to cash in on the many continuing covers of After Hours, probably claiming legal composer rights through a citation of his former contract with Erskine Hawkins. Feyne and Bruce were formally added as co-composers in 1963, after Parrish was dead and buried.

Whether or not Feyne and Bruce actually had anything to do with the so-called “orchestration” is a mute point, as there really is no orchestration at all. Parrish clearly composed (and recorded) "After Hours" as a piano blues. By no stretch of the imagination are Feyne and Bruce true co-composers of this tune. That single honor belongs to the great Avery Parrish.

Muddy

<small>[ May 13, 2002, 12:34 PM: Message edited by: Muddy Lives ]</small>[/quote]
Hi,

My father was Buddy Feyne - and I'd like to add some info to this stream. Erskine Hawkins had an agreement with the music publisher - Lewis Music, run by Mort Browne. Many of his songs were instrumentals (including Tuxedo Junction) but when they were published, lyrics were added. This seemed to be fairly standard practice as sheet music sold better with lyrics.

Neither Feyne nor Bruce were arrangers or orchestrators - that was Erskine Hawkins' perview.

The comment about the recording is right - I have a copy of the Hawkins band with Avery Parrish on piano - it's hot.

Buddy Feyne wrote lyrics for several Erskine Hawkins' songs (notably Tuxedo Junction) and also to After Hours by Avery Parrish since it was recorded by Hawkins. Robert Bruce was the name that Mort Browne took for getting songwriter credits on songs he published. This was fairly standard. Billy Rose's name is on lots of songs he didn't write, but in order to get published many songwriters allowed the publisher to get paid for those songs.

I believe the reason my dad's name was not included till 1963 was that for the first 28 years of the copyright, only Parrish and Bruce were listed. My dad never got any royalties for the lyrics he wrote on any of these songs until the second copyright period came around. So even though his songs were on the hit parade (Tuxedo Junction, Jersey Bounce, etc.) he didn't get a dime till the renewal of the copyrights and his name was added.

He was just proud to be a lyricist for such great music.


The copyright clearly shows that Avery Parrish composed the tune, and that lyrics were by Feyne and the everpresent Bruce.

My dad wrote for many of the jazz bands of the time. If you want to see his songs, feel free to check him out - www.buddyfeyne.com.

The versions you are mentioning here of the song are all great.

[eBuddha]

pibseast, on Jun 16 2005, 05:40 PM, said:

My father was Buddy Feyne - and I'd like to add some info to this stream.

Amazing bit of info added - even as we return over two years later

Cheers,

Rob