Joe Liggins - 1948-1950

Joe Liggins - 1948-1950
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Album Details

Title: 1948-1950
Artist: Joe Liggins
Release Date: 11/16/2004
Re-Released On: 3/28/2005
Label: Classics R&B, Classics
Album Type(s): Greatest Hits
UPCs: 3307510510829, 3448967510823
Genre: Blues
Styles: Early R&B, Piano Blues, Boogie-Woogie, West Coast Blues, Swing, Jump Blues, Jazz Blues, Standards, Regional Blues
Moods: Amiable/Good-Natured, Joyous, Party/Celebratory, Rollicking, Boisterous, Exuberant
Total Copies: 0
Members Wishing: 3
Number of Discs/SwapaCD Credits: 1

Track Listings

  1. Big Baritone
  2. Roll 'Em
  3. Don't Stop Loving Me
  4. Key Jam
  5. End of a Kiss
  6. Fascination
  7. Three O'Clock Jump, Pt. 1
  8. Three O'Clock Jump, Pt. 2
  9. Miss You
  10. I Cover the Waterfront
  11. Lonesome Guitar
  12. Hey Mama!
  13. What's the Reason
  14. Ramblin' Blues
  15. Rag Mop
  16. Sentimental Lover
  17. Pink Champagne
  18. Little Joe's Boogie
  19. Little Joe's Boogie
  20. Goin' Back to New Orleans
  21. Rhythm in the Barnyard, Pt. 1
  22. Rhythm in the Barnyard, Pt. 2
  23. I've Got a Right to Cry
  24. Little Black Book

Additional Releases

YearTypeLabelCatalog #
2005CDClassics5108
2004CDClassics R&B5108

Other Editions

  • No other editions were found for this album.

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Album Review

This second volume of the complete recordings of Joe Liggins & His Honeydrippers opens with their final 13 sides for the Exclusive label recorded in Los Angeles in 1948 and 1949. There are lots of instrumental tracks here -- nine of the Exclusives, in fact. "Roll 'Em" was a big hit for Liggins, and deservedly so as it is one of his very best boogie-woogie exercises. "Big Baritone" bears more than passing resemblance to Liggins' opus of 1946, "Yvette." "Key Jam" seems to have been closely patterned on Duke Ellington's "Merry Go Round," while "End of a Kiss" resembles both "Don't Get Around Much Any More" and "I Guess I'm Just a Lucky So and So." For an r&b retrospective, this package sure holds a lot of jazz, proving once again that stylistic delineations are relatively illusory half of the time. "Three O'Clock Jump," a cheerful sequel to Count Basie, really rocks and rolls. Part of what made the Honeydrippers band so tasty was the presence of saxophonists James and Little Willie Jackson. The riff spectrum widens as "Hey Mama" and "Fascination" tap into tango and rhumba rhythms. There is a splendid rendering of "I Cover the Waterfront," and "Lonesome Guitar" (featuring Frank Pasley) is a masterpiece of slow blue reverie. On January 20, 1950, Joe Liggins cut his first sides for the Specialty label. Slight changes had occurred in the band personnel, most significantly the addition of a third saxophonist, tenor man Maxwell Davis. "Pink Champagne" was another number one hit record for a little while. The endlessly covered "Rag Mop" was originally derived from Henry "Red" Allen's "Get the Mop," one of several postwar hijacked hits. Liggins kept his arrangement at a lively but not frenetic pace for maximum grooviness. He tapped into the boogie-woogie craze with both original and shameless imitation Louis Jordan-styled novelties. "Little Black Book" has a decidedly boppish line. With baritone sax behind the alto, it sounds a lot like some of the records James Moody was putting out during the late '40s. ~ arwulf arwulf, All Music Guide

Credits

NameCredits
Dave PennyLiner Notes
Frank PasleyGroup Member, Guitar
James "Ham" JacksonGroup Member, Sax (Tenor)
Joe LigginsGroup Member, Vocals, Piano
Maxwell Street Jimmy DavisSax (Tenor)
Peppy PrinceGroup Member, Drums
Red CallenderBass, Group Member