The photos are all taken from the great booklet which came with this tremendous collection! BUY IT!!


Big Joe Turner "Big, Bad & Blue - The Anthology"
(Rhino Records R2 71550 - 3CD-1994)

CD 1
01. Roll 'Em Pete
02. Goin' Away Blues
03. Cherry Red
04. It's All Right Baby
05. Careless Love
06. Piney Brown Blues
07. Rocks In My Bed
08. Blues On Central Avenue
09. Sun Risin' Blues
10. Johnson & Turner Blues
11. I'm A Lovin' Man (live)
12. My Gal's A Jockey
13. Sally Zu-Zazz - Blues
14. New Oo-Wee Baby Blues (Wee Baby Blues
15. Battle Of The Blues (Part 1)
16. Hollywood Bed (Cherry Red Blues)
17. Radar Blues
18. Tell Me Pretty Baby
19. Wine-O-Baby Boogie

CD 3
01. Hide And Seek
02. Midnight Cannonball
03. Morning, Noon And Night
04. The Chicken And The Hawk (Up, Up And Away)
05. Corrine Corrina
06. Boogie Woogie Country Girl
07. Rock A While
08. Lipstick, Powder And Paint
09. Love Roller Coaster
10. Teenage Letter
11. Jump For Joy
12. Low Down Dog
13. Morning Glories
14. You're Driving Me Crazy
15. I Want A Little Girl
16. Nobody In Mind
17. Rebecca
18. Don't You Make Me High
19. Time After Time
20. My Little Honeydripper
21. Honeydripper
22. Can't Read, Can't Write Blues
23. Crawdad Hole

CD 2
01. Jumpin' At The Jubilee
02. Still In The Dark
03. Chains Of Love
04. The Chill Is On
05. Bump Miss Susie
06. Sweet Sixteen
07. Don't You Cry
08. Still In Love
09. Honey Hush
10. Crawdad Hole
11. TV Mama
12. Oke-She-Moke-She-Pop
13. Shake, Rattle And Roll
14. You Know I Love You
15. Married Woman
16. Well All Right
17. Ti-Ri-Lee
18. Flip Flop And Fly
19. In The Evenin' When The Sun Goes Down

 

Musicians

"Can't Reed, Can't Write Blues"
Recorded in New York City, January 26, 1983
From the album "Bossman Of The Blues" (LMI #1004 - 1974)

Big Joe Turner -
vocals
George Phelphs -
guitar
Jerry Smith -
bass
Dick Innes -
drums
Jimmy "Night Train" Forrest -
sax
Rod Piazza -
harmonica




Piazza's releases

Original recordings produced by Ahmet Ertegun, Nesuhi Ertegun, Jerry Wexler, Herb Abramson, John Hammond, Solomon Kahai, Joe Turner, Jerry Leiber & Mike Stoller, Norman Granz, Lee Magid, Doc Pomus & Bob Porter. Compilation produced for release by James Austin.

This is an amazing box feat. Big Joe Turner - The One And Only Blueshouter. Lots of words and pictures of Turner and family. It's not just straight blues, but also more jazzy stuff. I'm glad I managed to get a copy since it seems that it has been out of print for quite a time.

RECOLLECTION FROM AHMET ERTEGUN
"I first heard Joe Turner on the fabulous records he made at an important, historic recording session for OKeh/Vocalion, "Roll 'Em Pete" and "Cherry Red" although I had heard of him before that because he was a legendary singer in Kansas City.

In 1940, a couple of years after Joe's appearance at the "Spirituals To Swing" concert at New York's Carnagie Hall, my brother Nesuhi and I organized our first jazz concert in Washington. We had booked a terrific lineup led by Sidney Bechet, feat. Sidney DeParis and Vic Dickenson and Joe Turner singing with pianist Pete Johnson. That was my first in-person encounter with Joe.

When I started Atlantic Records, Joe Turner had been recording for Vocalion, and my original partner, Herb Abramson, had produced some of his sessions National Records. Herb I went to see Count Basie's band the day they opened at the Apollo Theatre. Jimmy Rushing, who had been ill, wasn't performing with the orchestra, and much to our surprise, Joe Turner was singing in his place.

We caught the engagement's very first show, Friday morning, 11:30 or noon. Joe obviously hadn't practiced much with the orchestra and wasn't familiar with the arrangements. The numbers where not just straight blues, but had instrumental passages that were not the convential 12-bar format, so that after he sang the first couple of choruses, he came back at the wrong spot, singing counter to the arrangement, and got lost. It was quite an embarrasing moment for all. The crowd realized there was something wrong. It was very unpleasant.

After the show was over we went backstage to see him. We were told he'd already left and probably was up at the corner bar. There was Joe, so we sat down and tried to cheer him up. We told him that we were very interested in recording him. That sort of picked him up, and he responded very positively. In any case, he did complete his engagement there, but since he was probably the best blues singer in the world at that moment, we told him he shouldn't be singing as a sideman; he deserved to be a star performer himself.

We started working with him in 1951. I wrote a song for him called "Chains Of Love" which was an immediate hit. And thereafter, between the song that I wrote and those of Jesse (Charles Calhoun) Stone's, we had several hits, not at least of which was "Shake, Rattle And Roll" later to be covered by an obscure hillbilly singer named Bill Haley.

If, as other people have said before me, Big Joe Turner had had musical training, he probably could have been a opera star. His voice was incredible. He could sing without a microphone in front of a big band, and his voice boomed over the horns. He had great, great blues phrasing, sang many of the great blues standards, and wrote several himself.

We had an incredible association. He used to call me "cousin" or "cuz", and we had great times together. I miss him very much. I attended his funeral, which was also attended by many many big, important musicians. If he hadn't been recorded, Joe Turner be a legend just on the strength of the impression he made on people who heard him live. He is a heroic, legendary figure. I am very much the better for having known him
-- Ahmet Ertegun - September 1993