The premier blues shouter of the postwar era, Big Joe Turner’s roar could rattle the very foundation of any gin joint he sang within — and that’s without a microphone. Turner was a resilient figure in the history of blues — he effortlessly spanned boogie-woogie, jump blues, even the first wave of rock & roll, enjoying great success in each genre.

Turner, whose powerful physique certainly matched his vocal might, was a product of the swinging, wide-open Kansas City scene. Even in his teens, the big-boned Turner looked entirely mature enough to gain entry to various K.C. niteries. He ended up simultaneously tending bar and singing the blues before hooking up with boogie piano master Pete Johnson during the early ’30s. Theirs was a partnership that would endure for 13 years.

The pair initially traveled to New York at John Hammond’s behest in 1936. On December 23, 1938, they appeared on the fabled Spirituals to Swing concert at Carnegie Hall on a bill with Big Bill Broonzy, Sonny Terry, the Golden Gate Quartet, and Count Basie. Turner and Johnson performed “Low Down Dog” and “It’s All Right, Baby” on the historic show, kicking off a boogie-woogie craze that landed them a long-running slot at the Cafe Society (along with piano giants Meade Lux Lewis and Albert Ammons).

As 1938 came to a close, Turner and Johnson waxed the thundering “Roll ‘Em Pete” for Vocalion. It was a thrilling up-tempo number anchored by Johnson’s crashing 88s, and Turner would re-record it many times over the decades. Turner and Johnson waxed their seminal blues “Cherry Red” the next year for Vocalion with trumpeter Hot Lips Page and a full combo in support. In 1940, the massive shouter moved over to Decca and cut “Piney Brown Blues” with Johnson rippling the ivories. But not all of Turner’s Decca sides teamed him with Johnson; Willie “The Lion” Smith accompanied him on the mournful “Careless Love,” while Freddie Slack’s Trio provided backing for “Rocks in My Bed” in 1941.

Turner ventured out to the West Coast during the war years, building quite a following while ensconced on the L.A. circuit. In 1945, he signed on with National Records and cut some fine small combo platters under Herb Abramson’s supervision. Turner remained with National through 1947, belting an exuberant “My Gal’s a Jockey” that became his first national R&B smash. Contracts didn’t stop him from waxing an incredibly risqué two-part “Around the Clock” for the aptly named Stag imprint (as Big Vernon!) in 1947. There were also solid sessions for Aladdin that year that included a wild vocal duel with one of Turner’s principal rivals, Wynonie Harris, on the ribald two-part “Battle of the Blues.”

Few West Coast indie labels of the late ’40s didn’t boast at least one or two Turner titles in their catalogs. The shouter bounced from RPM to Down Beat/Swing Time to MGM (all those dates were anchored byJohnson’s piano) to Texas-based Freedom (which moved some of their masters to Specialty) to Imperial in 1950 (his New Orleans backing crew there included a young Fats Domino on piano). But apart from the 1950 Freedom 78, “Still in the Dark,” none of Turner’s records were selling particularly well. When Atlantic Records bosses Abramson and Ahmet Ertegun fortuitously dropped by the Apollo Theater to check out Count Basie’s band one day, they discovered that Turner had temporarily replaced Jimmy Rushing as the Basie band’s frontman, and he was having a tough go of it. Atlantic picked up his spirits by picking up his recording contract, and Turner’s heyday was about to commence.

At Turner’s first Atlantic date in April of 1951, he imparted a gorgeously world-weary reading to the moving blues ballad “Chains of Love” (co-penned by Ertegun and pianist Harry Van Walls) that restored him to the uppermost reaches of the R&B charts. From there, the hits came in droves: “Chill Is On,” “Sweet Sixteen” (yeah, the same downbeat blues B.B. King’s usually associated with; Turner did it first), and “Don’t You Cry” were all done in New York, and all hit big.

Turner had no problem whatsoever adapting his prodigious pipes to whatever regional setting he was in. In 1953, he cut his first R&B chart-topper, the storming rocker “Honey Hush” (later covered by Johnny Burnette and Jerry Lee Lewis), in New Orleans, with trombonist Pluma Davis and tenor saxman Lee Allen in rip-roaring support. Before the year was through, he stopped off in Chicago to record with slide guitarist Elmore James’ considerably rougher-edged combo and hit again with the salacious “T.V. Mama.”

Prolific Atlantic house writer Jesse Stone was the source of Turner’s biggest smash of all, “Shake, Rattle and Roll,” which proved his second chart-topper in 1954. With the Atlantic braintrust reportedly chiming in on the chorus behind Turner’s rumbling lead, the song sported enough pop possibilities to merit a considerably cleaned-up cover by Bill Haley & the Comets (and a subsequent version by Elvis Presley that came a lot closer to the original leering intent).

Suddenly, at the age of 43, Turner was a rock star. His jumping follow-ups — “Well All Right,” “Flip Flop and Fly,” “Hide and Seek,” “Morning, Noon and Night,” “The Chicken and the Hawk” — all mined the same good-time groove as “Shake, Rattle and Roll,” with crisp backing from New York’s top session aces and typically superb production by Ertegun and Jerry Wexler.

Turner turned up on a couple episodes of the groundbreaking TV program Showtime at the Apollo during the mid-’50s, commanding center stage with a joyous rendition of “Shake, Rattle and Roll” in front of saxman Paul “Hucklebuck” Williams’ band. Nor was the silver screen immune to his considerable charms: Turner mimed a couple of numbers in the 1957 film Shake Rattle & Rock (Fats Domino and Mike “Mannix” Connors also starred in the flick).
Updating the pre-war number “Corrine Corrina” was an inspired notion that provided Turner with another massive seller in 1956. But after the two-sided hit “Rock a While”/”Lipstick Powder and Paint” later that year, his Atlantic output swiftly faded from commercial acceptance. Atlantic’s recording strategy wisely involved recording Turner in a jazzier setting for the adult-oriented album market; to that end, a Kansas City-styled set (with his former partner Johnson at the piano stool) was laid down in 1956 and remains a linchpin of his legacy.
Turner stayed on at Atlantic into 1959, but nobody bought his violin-enriched remake of “Chains of Love” (on the other hand, a revival of “Honey Hush” with King Curtis blowing a scorching sax break from the same session was a gem in its own right). The ’60s didn’t produce too much of lasting substance for the shouter — he actually cut an album with longtime admirer Haley and his latest batch of Comets in Mexico City in 1966!

But by the tail end of the decade, Turner’s essential contributions to blues history were beginning to receive proper recognition; he cut LPs for BluesWay and Blues Time. During the ’70s and ’80s, Turnerrecorded prolifically for Norman Granz’s jazz-oriented Pablo label. These were super-relaxed impromptu sessions that often paired the allegedly illiterate shouter with various jazz luminaries in what amounted to loosely run jam sessions. Turner contentedly roared the familiar lyrics of one or another of his hits, then sat back while somebody took a lengthy solo. Other notable album projects included a 1983 collaboration with Roomful of Blues, Blues Train, for Muse. Although health problems and the size of his humongous frame forced him to sit down during his latter-day performances, Turner continued to tour until shortly before his death in 1985. They called him the Boss of the Blues, and the appellation was truly a fitting one: when Turner shouted a lyric, you were definitely at his beck and call.

Originally published on allmusic.com

Born in Washington, DC, Jay Hoggard was raised in Mt. Vernon, New York in a religious family. His father was a Bishop in the African Methodist Episcopal Zion denomination. At age 15, Jay began playing the vibraphone. “One night I had a dream that I was playing the vibes. I asked my father to rent me a set and from the first moment, I knew that this was what I was supposed to do.” Jay majored in the renown World Music program at Wesleyan University . He toured Europe and played at Carnegie Hall during his freshman year. In his junior year, he traveled to Tanzania to study East African marimba music. Jay graduated from Wesleyan in 1976 and returned to New York City in 1977 to be proclaimed a young lion of the vibraphone.

Jay Hoggard has recorded 21 CD’s as a leader and over 50 as a collaborator. “I am about music that is both aesthetically pleasing for your mind and spirit, and physically healing for your body and soul.” The power of soul is a mystical paradigm of consciousness transformation . Pianist/ organist James Weidman, bassist Belden Bullock, and drummer Yoron Israel have performed and recorded as an ensemble with Jay for more than fifteen years. Their performances are of a caliber that can only be delivered by long associated, empathetic collaborators. Once, when Hamp called me to play for him, I asked what tunes he wanted. He replied, ’Just swing ‘em,gates.’ ” That conversation was the inspiration for Jays’ composition of the same name as well as the direction of this musical tribute to Hampton in Hoggard’s musical voice

Jay Hoggard has been honored and commissioned as a composer in various contexts. In 2009, he was commissioned by dance troupe Sankofa Kuumba and the Hartford Symphony Orchestra to write THE OTHER SIDE OF THE OCEAN and LET ME MAKE IT CLEAR. Previously, Jay collaborated with choreographer Cleo Parker Robinson by composing THE WISDOM OF THE BAOBAB TREE commissioned by Lincoln Center Out of Doors. He was commissioned by the Hartford Festival of Jazz to compose LA TIERRA HERMOSA, dedicated to Tito Puente. He was commissioned by Wesleyan University to compose JOYFUL SWAMP and CROSSING POINT for Max Roach and percussion ensemble, and VIBARIMBALA for symphonic and jazz orchestras.

As a performer, Jay Hoggard has toured the globe to rave reviews. He has performed in many of the finest venues of music presentation throughout the United States , Africa Europe, South America, the Caribbean, and Asia. Jay has performed in major venues (Kennedy Center, Lincoln Center, Schomberg Center) jazz festivals (St. Lucia. JVC, Montreux, Mt.Fuji, Pori, Hartford), colleges, universities, churches, galleries, libraries, and clubs around the globe. Jay has been featured on radio (NPR, Pacifica) and television (ABC Times Square, CBS Sunday Morning, BETJazz) nationally and internationally. He led a quintet on an extensive tour sponsored by the United States government to North Africa, the Middle East and India.

Jay performed in special concert collaborations with vibraphone masters Lionel Hampton, Milt Jackson, Tito Puente and Bobby Hutcherson. He has recorded and toured with creative artists such as Kenny Burrell, Dr. Billy Taylor, Max Roach, James Newton, Hilton Ruiz, Oliver Lake, Bennie Maupin, Sam Rivers, Anthony Braxton, Jorge Dalto, Terumasa Hino, Dwight Andrews, Geri Allen, Anthony Davis, Henry Threadgill, Vishnu Wood, Chico Freeman, Muhal Richard Abrams , Sherry Winston, Ahmed Abdullah, and was a guest artist with the Dizzy Gillespie Big Band. Jay has accompanied singers, instrumentalists, and poets and has performed with gospel, theater, dance, percussion, and orchestral ensembles.

Jay Hoggard is an Adjunct Professor of Music at his alma mater, Wesleyan University. For over 20 years, he has been the director of the Wesleyan Jazz Orchestra and has taught and mentored hundreds of students.

Originally published on jayhoggard.com

Earl Lavon Freeman jazz tenor saxophonist, originally became known for his work with the Horace Henderson Group during the Late 1940s, and Sun Ra’s band in the early ’50s. During that period, he also played with his musical brothers, drummer Bruz (Eldrige) Freeman and guitarist George Freeman, (with pianists including Ahmad Jamal, Andrew Hill, and Muhal Richard Abrams). Chicago Tribune critic Howard Reich says, “…For technical brilliance, musical intellect, harmonic sophistication and improvisatory freedom, Von Freeman has few bebop-era peers.”

The Chicago Reader’s Monica Kendrick adds “He changes everything he touches, mostly for the better, with his swaggering tenor tenderness.”

Along with his contemporaries Gene Ammons, Johnny Griffin, and

Clifford — the founder of the “Chicago School” of tenor players which adapted the work of Lester Young and Ben Webster, and influenced a number of players including Johnny Griffin & Clifford

Jordan. To round out the musical family, the saxophonist’s son Chico Freeman is also a well-known jazzman.

In the early 1960s, Freeman toured with Milt Trenier and, despite reasonably regular appearances in New York and Europe, the 75-year-old Freeman has remained to this day in Chicago, where you can see him almost weekly at clubs like Andy’s, and has been the host of legendary jam sessions, like his Tuesday events at the New Apartment Lounge. You can catch him with the likes of John Young, Jodie Christian, Mike Raynor, Bettye Reynolds, Kurt Elling, and the rest of his musical family. His 75th birthday was celebrated with a headlining slot at the 1997 Chicago Jazz Festival. He joined one of the city’s youngest tenor stars, Frank Catalano, in an afternoon set at the 1999 Fest.

His releases are still hard to find (especially on CD), but include Doin’ It Right Now (1972, Atlantic), Have No Fear (1975, Nessa), Young and Foolish (1977), Walkin’ Tuff! (1988, Southport), Never Let Me Go (1992, Steeplechase) Lester Leaps In (1992; Steeplechase), Serenade & Blues, and the recent tenor duet with Ed Petersen, Von and Ed (1999, Delmark), in addition to collaborations with April Aloisio, Steve Coleman, Chico and George Freeman, Yusef Lateef, Joanie Pallatto, Bradley Parker-Sparrow, and Louis Smith.

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Biography originally published on allaboutjazz.com