Saturday, 17 August 2019

Walter Brown born 17 August 1917


Walter Brown (August 17, 1917 – June 1956) was an American blues shouter who sang with Jay McShann's band in the 1940s and co-wrote their biggest hit, "Confessin' the Blues".

Brown was born in Dallas, Texas. He joined McShann's orchestra, which also included the saxophonist Charlie Parker, in 1941. Yet, only two years later Brown’s addiction to alcohol, narcotics and amphetamines resulted in a break with McShann . Brown sang on some of the band's most successful recordings, including "Confessin' the Blues" and "Hootie Blues", before leaving to be replaced by Jimmy Witherspoon.


                              

In 1947 Brown recorded some sides with the Tiny Grimes Sextet, which resulted in their version of the hit "Open the Door Richard". The record was considered too risqué and was banned from most radio playlists, and the label withdrew it from sale soon after. That same year Brown was back in the recording studio accompanied by the Jay McShann Quartet -- with Seeward Evans on tenor sax, bassist Percy Gabriel, and legendary Kansas City drummer Jesse Price -- waxing four sides for the Mercury label in Houston, TX,

Brown's next four sessions took place in Kansas City, where Dave Dexter of Capitol Records sought to cash in on the developing demand for blues-based dance music. Eight sides recorded in April of 1949 feature tasty solos by tenor saxophonist Freddy Culliver and smooth lines from Jimmy Walker's electric guitar. Incredibly, both the humorous "Work Don't Bother Me" and the Wynonie Harris-styled "Play the Blues" were rejected by Capitol. "

The plot thickens as Brown's next recording date -- Halloween 1949 -- found him backed by Jay McShann's Kaycee Stompers.  This is great R&B-inflected jazz, full of Walter Brown's own brand of musical mustard and vinegar. McShann stuck with Brown right through to the end of this singer's rocky recording career. The pianist anchored a quintet on Brown's last date for Capitol on November 1, 1949.

Brown's subsequent solo singing career was unsuccessful, although he recorded for the King, Signature and Mercury labels, His last two recordings were made in Houston sometime during the year
1951 and issued on the Peacock label. There are plenty of anecdotes about this singer's turbulent life after he stopped making records, including getting busted in New Orleans with a sizeable load of reefer in his station wagon, and later running his own nightclub in Lawton, OK.

Walter Brown passed away June, 1956, Lawton, Oklahoma,  just weeks short of his 40th birthday, a victim of alcohol, heroin, and Benzedrine.

(Edited from Wikipedia & AllMusic)

1 comment:

  1. For “Walter Brown w. Jay McShann –
    Forget Your Troubles And Jump Your Blues Away!” go here:

    https://www.upload.ee/files/10366711/Walter_Brown_-_FYT.rar.html

    1. HOOTIE BLUES
    2. CONFESSIN' THE BLUES
    3. ONE WOMAN'S BLUES
    4. FORE DAY RIDER
    5. NEW CONFESSIN' THE BLUES
    6. RED RIVER BLUES
    7. BABY HEART BLUES
    8. CRYIN' WON'T MAKE ME STAY
    9. HOOTIE'S IGNORANT OIL
    10. LONELY BOY BLUES studio version
    11. THE JUMPIN' BLUES
    12. HOMETOWN BLUES
    13. LONELY BOY BLUES radio broadcast version
    14. WB BLUES
    15. SLOPPY DRUNK
    16. LOVIN' A BEGGAR
    17. JUST THINKIN'
    18. YOU BETTER LEAVE MY GAL ALONE
    19. I'M GONNA GET MARRIED
    20. NEW STYLE BABY
    21. NASTY ATTITUDE
    22. LET'S LOVE AWHILE
    23. SLOW DOWN BABY

    "Perhaps the more persuasive of carollers of the exploits of wastrels, wanderers and woes of uncontrolled drunkards and illicit lovers," U.S. jazz periodical Metronome used these words in 1945 to describe singer Walter Brown who had left a secure job as chief band vocalist with the Jay McShann Orchestra to strike out on his own with a recording contract for KING Record's QUEEN subsidiary.

    With many of his blues having already borne such salty titles as "'Fore Day Rider", "Hootie's Ignorant Oil" and "Cryin' Won't Make Me Stay", while soon to include "Sloppy Drunk", "Gonna Play With Your Woman" and "Let's Love Awhile", the description by a mainstream jazz publication would appear to have been fairly perceptive, particularly in view of the fact that within a dozen years, Walter would be dead, a victim of those same rough and rowdy ways. (Jasmine notes)

    A big thank you to Mijas @ ACM2 blog for original post.

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