After making his exit from the Rhumboogie, Tom Archia could not take jobs as a leader in Chicago, on account of Harry Gray's opposition. The Local leadership maintained this attitude through the end of Consequently, his subsequent moves are hard to trace. At some point he joined Bill Pinkard's swing combo, which was enjoying a long run at the Campus Inn Cottage Grove. Around the middle of , Tom Archia came out to Los Angeles, where he met up again with the Jacquet brothers Illinois Jacquet had by this time risen to fame in Hamp's band, then worked with Cab Calloway for a couple of years.
He spent several months in Los Angeles in , staying with his sister, and got two more recording opportunities. The two master takes are also included in Classics , a CD released in under the title Illinois Jacquet ARA was the original rpm issue, and the only one to identify the group as the "Jacque Rabbits.
Metro was a rpm single; a copy was the source for the alternate take of "Ladies Lullaby" included in the Mosaic collection.
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Bob Porter estimates as the issue date for Metro ; the Metro label had the same design as the Rex label, which came from a small Los Angeles operation that was active in Though this session shows the Jacquet Brothers to advantage, the potentially explosive reunion between Tom Archia and Illinois Jacquet doesn't come off. Archia gets a little solo space on both sides.
On both takes of "Ladies" he has an 8-bar tenor sax solo on the bridge, after Thompson's bar piano solo and before Coker's trombone statement; on "Stomp" he gets the second 4-bar break at the beginning after Coker's , then 8 bars on the bridge in between muted trumpet statements by Russell Jacquet. His sound is thick and coarse and he seems to be fighting his reed, especially on the alternate take of "Ladies Lullaby.
Our session information is from Lord. Philo, which would quickly change its name to Aladdin, released and as 78s. On that occasion Maxwell Davis and Lester Young took over on tenor. Whiskey, Women and From the collection of Tom Kelly "Stop Jivin' Around" is occasionally said to have been the fourth title from this session, but it is actually a different title for "Pleasing Man Blues" from Helen Humes' December 22 session which produced 5 sides all told.
According to Bob Porter, Norman Granz may have produced this session. We'll upgrade the producer credit from "may have," because shortly after this outing, Granz tapped Archia for at least one Jazz at the Philharmonic concert. Not all of the locations have been identified, but the tour appears to have worked its way up the West Coast including Portland and Seattle , finishing in Victoria, British Columbia.
The exact date for Victoria not known, but the concert took place around December 16, , probably at the Armory. Canadian musician Fraser MacPherson then just 17 years old attended the concert and got several members of the band to sign the program. Tom's name wasn't printed on the program, so he must have been called in at some point during the tour to replace Eli "Lucky" Thompson - This could have been as early as the first out-of-town concert, if Thompson decided not to leave LA. However, Thompson doesn't appear to have been brought into the Dizzy Gillespie-Charlie Parker combo at Billy Berg's until somewhat later.
Note the quotation marks around Tom's stage name. Coleman Hawkins had been brought back to the West Coast for this particular tour. Thelonious Monk, still a long way from becoming a "name" artist, had been in Hawk's band the previous year. Norman Granz was obviously promoting Helen Humes at the time, and as a recent participant in her session for Philo, Tom was an obvious candidate to fill in on the tour, where his duties consisted of playing in the sextet that opened the concert then finishing the night behind Helen Humes. Hawk got his own set with the rhythm section; the other attractions were boogie woogie pianist Meade Lux Lewis and the vout-o-reenyish duo of Slim Gaillard piano, guitar, vocals, etc.
Our thanks to Nou Dadoun for alerting us to Tom's presence at this concert; see the "Monk in Victoria" discussion on the Vancouver Jazz site May 24, for more about this tour and the Victoria concert according to contemporary reports, it was a complete flop commercially. Not too shabby—this was the first bebop band in California, active several months before Bird and Diz arrived for their legendary gig at Billy Berg's on December 10, McGhee had arrived in Los Angeles with Coleman Hawkins in late January and started his own band in April, after he quit Hawk's after a dispute over pay.
This band has James D. King on second tenor and Morgan had departed. These were made with a much augmented ensemble: 2 trumpets, 2 trombones, and 2 saxes added. In November listed as December in discographies, but " Blues" and the presence of Oscar Pettiford, who was about to split to join the Duke Ellington band, point to November , a band of McGhee, Edwards, Biddle, Pettiford, and new drummer Roy Porter, plus vocalists, cut seven more sides for Modern. King, we should point out, was out of the Hawk lineage and had a characteristically wavery tone that contrasted nicely with the more modern sound Edwards got out of the tenor sax he had recently switched from alto.
Roy Porter had replaced McFay, something he remembered in his Cadence interview—but this detail did not make it into his autobiography. King for a few weeks in January and February See There and Back, pp. Roy Porter recalled Tom Archia replacing J. King in the band; however, this apparently was only for the duration of the gig.
McGhee then returned to Los Angeles. When he next recorded, for Melodisc in the Spring of , J. King was back definitely—he sang on one side and Jimmy Bunn had probably replaced Vernon Biddle. Shortly thereafter, McGhee began his rather ill-fated collaboration with Charlie Parker, which was interrupted when Bird freaked out from drug withdrawal and was sidelined for several months at Camarillo. Better musical results would obtain after Bird was released from Camarillo, from March to May of By November of , McGhee had made his departure from Los Angeles and was in Chicago recording for Vitacoustic; he would cut another two sessions for the short-lived company in December.
On returning to Chicago in March , he found Vitacoustic in Chapter 11, still owing him money for the sessions. Nothing was released until March , when Egmont Sonderling and Al Benson put out a single on their scavenge operation, Old Swing-Master ; many of the McGhee sides were then sold to Chance , in , but nothing happened to them on that account. Roy Eldridge had been working El Grotto with his own big band when the entire aggregation was called on the carpet by the Board of Musicians Union Local on April 4, Apparently band members had been smoking and drinking on the stand, showing up late, and otherwise giving their leader trouble; alto saxophonist Porter Kilbert and bassist Rodney Richardson drew particular wrath from the Board for not showing up for the meeting, and Eldridge was strongly encouraged to fire them.
Session information from Lord. Decca , , and were rpm singles released at the time. Classics , released in , is titled Roy Eldridge His solos have been praised by Gunther Schuller in his book The Swing Era ; as Schuller notes, there is still some resemblance to Dex here the persnickety Schuller is not so fond of Roy's playing on these sides. The tenor sax solo on "Yard Dog" is by Al Green. Tom Archia was no longer around when Roy Eldridge recorded his last big band sides, for Decca later in the year. Very likely he was working with Dinah Washington, who appeared at various nightspots in the Chicago area during June and July , following up with a several-week tour of the Midwest.
Early in Tom Archia joined the house band at the Macomba Lounge, a neighborhood bar and after-hours joint at 39th and Cottage Grove in Chicago. Leonard Chess had opened the Macomba in February Phil Chess, in an interview with Charles Walton, stated that "After four months we got a band which included Tom Archia and every famous jazz musician came by.
The Macomba may have acquired a house band in 4 months, but it was more like a year before Archia became a regular. Timothy Brown was the first bandleader to be signed to a Union contract at the Macomba; he held sway for about a month, ending on June 23, his contract was accepted and filed by Local on June 6. From June 24 through November 10, , the Macomba used a trio nominally led by drummer Charles Hawkins contract recorded by Local on July 3, renewal contracts recorded on August 1 and September Wendell Owens was at the piano, and the third member was a saxophonist.
We don't know who that was for most of the engagement; it is even possible that Tom Archia played at the Macomba during part of it. George Sims led the off-night band during this period his contract was also accepted and filed on July 3. Cyril "Cozy" Eggleston, who would gain local renown as a bar-walking tenor player, was on the Macomba payroll from late October through January , and overlapped with Tom Archia for a while in the first quarter of On November 7, , the Board of Local hauled Leonard Chess and the band members in to explain why Chess's tax withholding arrangements did not constitute an end-run around paying Union scale to the leader.
While satisfied that Chess was not "chiseling," the Board was upset with Hawkins and booted him out as leader, taking away his contracting rights for two years. The Local Board demand that Chess fill out a new contract that would go into effect on November 11, with Wendell Owens as the leader this was duly recorded on the contract list for November Owens' status as leader was strictly political, which would cause a lot of trouble for Tom Archia later on.
At the same meeting at which Hawkins was ousted, Ernest Archia posted an "indefinite" contract that he had inked as a leader with Sonny Boswell's Lounge, 55th and Michigan Avenue. The gig at Boswell's seems to have listed till early December; it ended with in an acrimonious dispute over whether Archia had gotten all of his pay. Apparently he was out of work for some time after that, for on January 18, the Defender announced that he was about to depart for New York City. Besides indicating his popularity on the South Side, the item shows that people in Chicago paid little attention to the way he preferred to spell his name.
It looks like an offer from Leonard Chess at the Macomba changed his mind about leaving. Tom Archia appears to have joined the Macomba Lounge trio in February of during January pianist King Fleming was booked at the club. Once he came into the Macomba, Chess quickly came to regard him as the leader, but he was still in bad odor with the Union leadership because of his role in the "Dream Band" fiasco three years earlier, while Wendell Owens enjoyed the favor of Harry Gray.
Documentation on Jazz at the Philharmonic concerts is unfortunately not complete, but we know that, as he had done at the end of , Tom Archia spent a little time on the road with JATP. The concert was reviewed in the Michigan Chronicle on April 19 all of this is duly noted in the book that accompanies the Complete Jazz at the Philharmonic set on Verve. The concert was, alas, not recorded. Thanks to Joseph Scott for bringing this item to our attention.
The obstacles to getting acknowledgment as the bandleader came into plain sight on June 19, , when the Union blocked Leonard Chess's effort to replace Wendell Owens with Eddie "Sugarman" Penigar at the piano. The Board wanted to know why Chess was giving the trio 2 weeks' notice, effective June 29—only to hire Archia and Brooks right back.
The word "collusion" was used. Owens claimed that the other two knew about the 2 weeks' notice before he did. In a Pyrrhic victory for Leonard Chess, Board allowed the Macomba let the trio go—on the condition that Archia and Brooks not return for three months! Consequently Chess withdrew the notice to Owens—for the time being. The Macomba has been magnified by legend. It was not a posh nightclub; Billy Eckstine and Ella Fitzgerald may have visited as so many out-of-town musicians did and even jammed there, but they were never booked at the Macomba.
In truth, it was a narrow little dive with a tiny bandstand; the club was just off the intersection that reform-minded politicans and their supporters knew as "Sin Corner. What mattered at the Macomba was the music. The house band always included some of the best jazz musicians in Chicago. Leonard Chess paid them better than Union scale, though Tom Archia took more of his compensation in alcoholic form than was prudent.
The jam sessions, which could go on till dawn or beyond, were locally renowned. They were not, however, appreciated by Local , which had a rule against jamming. Local began periodic crackdowns against the practice in for instance, on October 17, , the Board fined Jack Cooley, Cozy Eggleston, and three other musicians for jamming at three different clubs ; President Gray's assistants were sent to monitor what was happening in the clubs, and periodically they would break up jam sessions.
Despite the occasional chilling effect, the Monday night sessions at the Macomba were attended by all the local musicians and anyone who was visiting. Tom Archia's next recording opportunity was with a brand-new independent operation called Aristocrat. Its first recordings featured hotel-band leader and singer Sherman Hayes, a vocal harmony group called the Five Blazes , and jazz singer Jackie Cain backed by the George Davis Quartet.
But the Arons were willing to venture into any genre if it might sell records. He began by pulling in drummer Armand "Jump" Jackson, who was already a veteran of the Chicago recording scene. At the time Jackson's quartet was working the New Morocco Lounge, in the same neighborhood as the Macomba. Aristocrat matrix numbers in the U series point to Universal Recording, which was the premier studio in Chicago during the late s and most of the s.
Yet all four horns are present on U, U, U, and U Only on U is Archia the sole horn. A major cause of confusion for the previous discographies was swapping U and U and besides being given the wrong matrix number in these sources, U was retitled "Train Blues. Our correct information on UU comes from copies of Aristocrat , , and in Dan Kochakian's collection.
Mallard, a Hodges acolyte, gets assigned to the schmaltz patrol again on "Sweet Thing. According to George R.
The June recording date seemed likely for a number of reasons. It is clinched by a June 30, item in Cash Box. In the gossip column "Around the Wax Circle," a letter from Evelyn Aron is cited announcing that Aristocrat has signed Jump Jackson and his band, along with "Melrose Colbert, sepia torch. Wendell Owens, still the nominal leader at the Macomba, was not the same pianist who appeared on this session, or the next one; this is not surprising, given that Leonard Chess and Tom Archia were dissatisfied with his playing.
In fact, Eddie Penigar who Chess attempted to hire for the Macomba made the first session, playing his other instrument, the tenor sax. The core membership of the band on these sessions came from Jump Jackson's combo that held a gig at the New Morocco Lounge. Other Aristocrat sessions would feature Andrew Tibbs, who was working at Jimmy's Palm Garden, and Gene Ammons, who frequently headlined at the Congo Lounge—all in the same neighborhood. Also worthy of note is that a similar lineup horns minus Archia, different guitarist and bassist recorded for Columbia as the Chicago All Stars see our Sax Mallard page for details.
Their first session took place on June 27, , very close to this one. Aristocrat and were rpm singles; according to George R. White, they were released around November and February Chess was a rpm single the company hadn't adopted the 45 yet ; it was released in November Lord's treatment of this session is highly incomplete.
Even Ruppli's Chess discography does not specify the rhythm section; neither Lord nor Ruppli mentions the second tenor sax. The guitarist does sound different from Leo Blevins, who worked with Archia later, and George Freeman, who may have been on the clandestine live sessions from early ; the pianist does not resemble either Bill Searcy or Willie Jones, who worked regularly with Archia later.
The second tenorist is not mentioned in any source. Back in , speculation in these quarters pointed to Gene Ammons possible with "Mean and Evil Baby" but not the other tracks, where the second tenorist plays rougher than Jug ever did and to Sugarman Penigar, who was on the previous session.
But the vocal credit to Buster Bennett on "Fishin' Pole" and the fact that the vocals on this one number are accompanied by Tom Archia only solves the mystery at last. The vocal credits have been garbled in all previous sources, including the one CD reissue of two of these items. For instance, Sheba Griffin did sing on this session, as advertised. Worse yet, the two male vocalists were never correctly identified.
George Kirby best known for doing impressions at the Club De Lisa, but also a capable vocalist, according to Vernel Fournier is identified on the label as the singer on "Ice Man Blues. Ruppli and others have attributed these vocals to Dr. Jo Jo Adams. Another session that really did include uptown blues singer Dr. Jo Jo Adams followed quickly.
Born in Alabama somewhere around , Adams rose to prominence at the Club De Lisa, where he was renowned for his salacious lyrics which of course had to be toned down on records and his wardrobe of loudly-colored tuxedos. On this occasion, Tom Archia seems to have recruited his own band instead of relying on Jump Jackson. Aristocrat and were rpm singles. Aristocrat was released in November By interpolation between the release dates for and , George White has estimated that was released in March , but this needs to be confirmed no advertisements for are known.
The first reissue ever of this material is Tom Archia: on Classics Blues and Rhythm , issued in February Our thanks to Bob Porter for composer credits on Aristocrat Meanwhile, all previous discographies have omitted The Fenner who was jointly responsible for "Drinkin' Blues" was Senabelle Richie Fenner, later mentioned in the Chicago Defender on February 23, as a "writer, poet, and song-stylist, whose compositions have been recorded by numerous artists.
We used to think that this was Sax Mallard who we know appeared on Tom Archia's session of October with Andrew Tibbs , but the soloist uses many bebop licks—our best current guess is Goon Gardner, who worked frequently with Archia over the years. On "Love Me" the only solo is by the trumpet player; on "Drinkin' Blues" the solos are by Archia who also handles the obbligato behind the vocal and the guitarist. Archia launches his solo with an apt quotation of "I Got Plenty o' Nothin'. The instrumental lineup here is completely different, yet Ruppli collapsed this session together with UU Our identifications are still tentative; the guitarist is loudly amplified and treads heavily—not Hurley Ramey, and not Leo Blevins.
Willie Jones, who was Archia's regular pianist in from through , was not at the Macomba yet and is not on this session either; Bill Searcy appears to have made the two Tom Archia sessions in October Meanwhile, the battle over Wendell Owens continued. Wendell Owens didn't take this too well, particularly since he had often loaned Brooks money when the club's management wouldn't give him an advance on his salary. The Board refused to budge. But while Leonard Chess was new to the music business, he had already taken some hardball lessons. On August 7, Leonard Chess was back in front of the Local Board; he had given Owens his notice but was begging to be able to keep Tom Archia on the gig:.
The Board repealed its previous rulings, allowing Archia and Brooks to continue after Owens was let go. On August 10, Leonard Chess was finally able to fire Wendell Owens, who had been the nominal leader at the Macomba; he had also signaled his intent to let Glenn Brooks go. It would more than a year before the Union would recognize Tom Archia as the bandleader. However, the drummer on the Jo Jo Adams session doesn't sound especially different from the drummer on the October sessions; Coleman was basically a Swing drummer. Though Leonard Chess was the proprietor of the Macomba Lounge, where Archia was a mainstay, it appears that he was not yet involved with Aristocrat at this early stage.
The next session, by year-old blues singer Andrew Tibbs, has always been said to be the first one that Leonard Chess attended; the first public mention of his employment by the label appeared in Billboard on October 11, Tibbs' debut session for Aristocrat is thoroughly confusing. The singer was backed by a band led by tenor saxophonist Dave Young who had been in Roy Eldridge's band; he also recorded with Lucky Millinder and Dinah Washington.
David A. Young was born on January 14, , in Nashville, Tennessee and died in Chicago on December 25, Tom Archia seems to have sat in on this session, though. Archia co-composed "Bilbo Is Dead"; after Aristocrat hid Tibbs out in a hotel under the wise guidance of Sax Mallard, so other labels couldn't steal him, Archia and Tibbs worked out the number in the back seat of a cab on the way to the session, and Tibbs brought the lyrics into the session inscribed on a paper bag. However, an instrumental number featuring Archia "Hey Tom Archia" that looks as though it came from this session had an entirely different origins; though given the matrix number US, it is a duel between Tom Archia and Gene Ammons that originated at Pershing Ballroom jam sessions clandestinely recorded by Al Benson in early George R.
White points out that since Theodore Bilbo, a notorious segregationist who was Governor of Mississippi and later U. Senator, died on August 21, , a September recording date is most likely. Aristocrat was not played on the radio in some parts of the South because of its A side, a Black man's crocodilic lamentation on the death of a notorious White racist. Russian artists who composed ironic praises of Stalin would fully understand lines like "Since Mr.
Bilbo is dead, I feel like a fatherless child. In fact, the number talks about how the Union is powerful and no one should mess with Tibbs now that he is a member—and the single seems to have sold well locally. Besides the confluence of matrix numbers, and Tom Archia's cab ride with Andrew Tibbs, the ensemble on the Tibbs numbers is just thick enough to have two tenors and an alto instead of one tenor and an alto. Jepsen put Tom Archia on the session.
Personnel and date from the Chess LP liners. It was released in August Demento's collection, reproduced on the back of the CD leaflet, attributes the number to "Chess-Aleta-Archia. According to the same interview, Andrew Tibbs' mother helped out with "Union Man" which is credited just to Tibbs on the label. Meanwhile, the copyright records in the Library of Congress attribute both "Bilbo" and "Union Man" to Archia; Tibbs' name is not mentioned. And Evelyn Aron and Mildred Brount are listed at the copyright holders! Although Tibbs is credited with "Drinking Ink Splink" on the label, this is bogus.
One wonders whether Tom Archia heard Buddy Banks do this number during his stay in Los Angeles, or whether another musician on this date heard the record and thought the material would suit. Even if Prince Cooper's piano trio U actually recorded on a different day, Aristocrat was consuming lots of studio time on this occasion. He did get to make two jazz sessions in the studio, however. His next session for the label is the only one he ever did with just himself and a rhythm sesssion. It is a neglected classic of post-World War II jazz. Our basic session information comes from Ruppli.
Aristocrat had no reverb. Heavy echo was added n , by Leonard Chess using his home-made sewer-pipe rig, for the issue on Chess The first ever reissue of the original session took place in February when Classics appeared, under the title Tom Archia Ruppli lists the matrix number for "Slumber" as UR but neither Aristocrat nor Chess includes the "R" suffix on the label. The "R" suffix does not mean "reverb," as Ruppli lists other R suffixes for Aristocrat tracks that were never reverbed, one of them "Jam for Sam. So R really meant "remastered. Aristocrat , , and were rpm singles released in May, August, and October , respectively.
Chess was a rpm single released toward the end of Careful listening to the October session reveals that Willie Jones was already characteristically spiky in his delivery and given to fast locked-hands patterns, while the pianist on this date has a heavier tread and favors thick chords. No reason to doubt that it is Bill Searcy, who was the regular pianist at the Macomba in Fall The singer on the autobiographical "Downfall Blues" is Tom Archia himself. Previous discographies identified Andrew Tibbs as the singer, but Tibbs had, shall we say, a more refined vocal technique.
The compilers of this collection knew virtually nothing about the Archia tracks they included: they gave as the recording date; they did not know the original Aristocrat releases; they attached new titles to "Slumber" and "Downfall Blues"; and they hedged about the identity of the vocalist on "Downfall Blues.
Aristocrat expected great things from Andrew Tibbs, and after the Musicians Union announced a recording ban for January 1, , the label whisked him back into the studio before his first 78 had seen release. This time Tom Archia was the bandleader. Ruppli omits personnel other than Tibbs who sings on all 4 sides and Archia; no previous discography mentioned either of the alto saxes or the trumpet.
Mallard wrote "Going Down Fast" and obviously arranged the smooth ensemble, dominated by the alto sax and Archia's tenor, in the middle of "Going Down Fast. What's more, Mallard seems to have written for the higher register of the tenor sax at times, creating the illusion of another alto, and Tom Archia unusually starts two of his solos on this session well up in his upper register. There are no solos for the trumpet, but he does get to play muted behind the vocal on "Same Old Story. At present Bill Searcy is the logical choice.
Aristocrat and were rpm singles; they were released in June and October There are no side indications on Aristocrat Aristocrat was one of Aristocrat's best sellers in the early going we are talking modest numbers here. It contains the first reissue of anything from this session in 52 years. The entire session is now available on Classics , Andrew Tibbs released in February Unfortunately the discographical listings that Classics provides for this session are completely wrong.
At the beginning of November , Tom Archia went on the road for two and a half months, with an eight-piece band led by Oran "Hot Lips" Page Page had done a session in New York City on October 28 with a different band. The previous two sessions can be dated to October because obviously they were cut before Archia went on the road. However, McLin had a steady gig at Ciro's Lounge with his regular band during this period.
McLin was in a good position to sit in Ciro's was also on 39th Street , but someone else must have been called on during Archia's absence. We also know from the minutes of the Local Board meeting, November 20, , that tenor saxophonist Tommy "Madman" Jones was leading the "relief night" band at the Macomba during this period Jones also led a trio. He got in trouble for inviting Thomas Davie to jam with his band—Assistant William Dover walked in and caught them. After a month or so on the road, the Page band got the call to accompany vocalists for King Records in Cincinnati. They began with a four-tune session behind Mabel Smith.
She was already a veteran performer when she sang on a side by Christine Chapman's band for Decca in She first recorded under her own name for King in early December She made 8 sides for the label all told. Six were released at the time; each of her singles paired one side from the first session with one from the second or third. They did not sell, and King dropped her. She reappeared on record in , when OKeh began recording her as Big Maybelle, and enjoyed several hits for OKeh and Savoy from through After being dropped by Savoy, she enjoyed moderate success recording soul music for several labels between and , but by the end of the decade had been forced to retire from performing because of poor health.
King , , and were rpm singles released at the time see below for the couplings. Classics , Big Maybelle , is a CD released in The Page band's involvement in this session remained a secret for over 50 years, until the Classics reissue was put together. Other sources, such as Blues Records L-Z by Leadbitter, Fancourt, and Pelletier, have given the date and location as Cincinnati in early December, listing the accompaniment as unknown. But Bradshaw had not begun his association with the King label yet, and as Dave Penny's liner notes for the Classics release point out, Lips Page's trumpet work is clearly audible on these sides.
What's more, Penny was able to get confirmation from Hal Singer that the Page band was on the session, along with solo lineups for each track. The source of the confusion is probably the fact that the sides from this session were credited to "Mabel Smith" without any reference to the accompaniment. Penny also identified Lonnie Johnson by ear, and there isn't any question about his being there, though the credits to the Classics CD put a question mark next to his name. As we will see was often done on the vocal accompaniments for King, Vincent Bair-Bey alto sax and Joe Britton trombone sat out this session.
And only one tenor sax can be heard on each side. The Page band was asked to return to the studio later that December, while King Records was frantically stockpiling material around sides in advance of the recording ban. During that same month, Aristocrat , which was doing its own frantic stockpiling, recorded Jimmy Bell's Trio. The Aristocrat composer credits are pretty slapdash, but it would be interesting to find out whether Tom Archia got label credit to any songs written for other performers besides Jimmy Bell and Andrew Tibbs.
The Hot Lips Page Band that went into the King studios, for two marathon series of sessions in late December K and K; see the Appendix for additional material that we once thought came from another session with the Page band has never gotten its due. Oran "Hot Lips" Page - had been leading his own jump bands for most of the previous decade.
Although his trumpet playing on some of the King sides is excellent, his Armstrong-derived style was considered archaic by the record company and Page gets little solo space on the Wynonie Harris sides, disappearing entirely from some. Too much of the band's output was left in the vaults by King this incuded nearly everything that Lips recorded in his own name.
Many other sides were issued in small quantities and never re-pressed for instance, we have been able to hear just two Barbara Cameron sides with the band. Collectors have focused on the justly famous performances by Wynonie Harris. All that were released sold well and "'Good Rockin' Tonight" was a monster hit. We may congratulate Wynonie for his good taste in spotlighting Tom Archia and encouraging Tom to battle with Hal Singer not yet known as "Cornbread"; he would record his signature number for Savoy in June We wish that Tom had been given more emphasis elsewhere.
Brilliant though they are, the Harris sides are atypical. Left to its own devices, the Page band played a lot of tightly charted swingers like "Fat Stuff" and "Boodie, Boodie" the last is a real curiosity—a bop number with a solo by a prominent Swing artist , but King wasn't interested in these and didn't bother to release any at the time. What made the band valuable to King in its recording rush was the ability of several of its instrumentalists Archia, Singer, and Page himself, as well as the rhythm section to back blues vocals with minimal preparation. During the first Wynonie Harris session, Wynonie was actually making up the lyrics while the band was improvising a background.
Even a more polished number like "Good Rockin' Tonight" was done after little premeditation. Bobby Donaldson would be an extremely active session drummer throughout the s. Five horns were too much for most of the non-charted numbers, however, and the recording director cut down the section for many of the blues accompaniments.
Despite the listings in discographies, for instance, neither Bair-Bey nor Britton plays on any of the Big Maybelle sides, and the second tenor is barely audible on them. Our basic information is from Lord, who includes the entire band and leaves off the guitarist. King was a rpm single, released in The singer was known strictly as Mabel Smith at the time. It is the first reissue in some case, the first issue, period of the bulk of this material. Thanks to Joseph Scott for alerting us to this important release.
If Tom Archia is present, he's well off-mike. Meanwhile, Blue Boar notes an unidentified guitarist, not previously mentioned in the discographies, but one listen to this track and one look at the next matrix number give Lonnie Johnson away. From the collection of Tom Kelly Arch Cincinnati, December 23, Our basic information is derived from Lord. Federal is the original rpm issue well after the date of recording; King opened the Federal subsidiary in and was released around The matrix number on the 45 is F Contrary to what Lord says, the entire Page band was not present on this cut; the discography provided with the Charly release gets it right.
The horn accompaniment to "Friendless Blues" is extremely discreet. After careful listening to the preceding Big Maybelle number, we reversed our judgment about the tenor saxophonist who plays throughout the piece and though prominent, restricts himself to a near-subtone: it appears to be Hal singer. The second tenor sax is off mike and little more than a ghostly presence; and a muted Page, even farther off mike, is barely audible in the last two bars of the piece.
Now we're getting to the choice stuff. And for the first time the full band is heard on some of the cuts.
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Our basic session and release information comes from Tony Collins' exemplary biography and discography, Rock Mr. King , , and were rpm singles released at the time. Blues , released in Collins wrongly puts just one tenor sax on "Bite Again. Despite the amount of jamming on these sides, extending to improvised lyrics and an occasional hasty ending, every one of them could have been released at the time. But "Good Rockin'" had such a long ride on the charts, then Wynonie's first session after the end of the recording ban, in December produced more hits.
In the end Syd Nathan probably forgot the side. Ruppli gives no date, and says only, "possibly same band as above [KK]. We can improve on that "possibly. When Rand confronts Xao, Xao reveals that there is an eighth city of Heaven before killing himself. After learning that the Randall fortune that started Rand International was formed from the oppression of the Cities of Heaven, Rand decides to transform the company into a non-profit organization, dedicated to helping the poor. He also sets up the Thunder Dojo in Harlem to help inner-city children, buys back the old Heroes for Hire building as the new Rand International Headquarters and his new home, while offering Luke Cage a position at the company.
He also tries to reconnect with Misty Knight. Rand, on his 33rd birthday, learns every single one of the previous Iron Fists died at the age of 33, except Orson Randall, who vanished at that time. Soon afterward, Rand is attacked and defeated by Zhou Cheng, a servant of Ch'l-Lin, who claims to have killed the Iron Fists in order to enter K'un Lun and devour the egg that births the next incarnation of Shou-Lao the Undying every generation, thus wiping out K'un Lun's Iron Fist legacy.
Luke, Misty, and Colleen arrive and save Rand. Rand has his shoulder dislocated during a second battle with Cheng, but manages to defeat Cheng even in his weakened state. Following the duel, the Immortal Weapons, Luke, Colleen, and Misty arrive, and reveal to Rand that they have discovered a map in Cheng's apartment that leads to the Eighth City of Heaven.
Rand and the others realize that this is where Ch'l-Lin originated, and depart for the Eighth City. Rand and Fat Cobra manage to defeat Quan. In the ensuing battle, Rand International is destroyed, but Rand and Misty escape unharmed. Now left with only a fraction of his former net worth, Rand and Misty purchase a new condo in Harlem, and Rand decides to focus all of his attention and remaining resources at the Thunder Dojo.
While moving into their new home, Rand asks Misty to marry him. Initially skeptical of the offer, Misty accepts and reveals that she is pregnant with Rand's child. In the aftermath of Siege , Rand joins the newly-reformed New Avengers. Danny later has an encounter with someone who is going by the name of Power Man. However, Danny is placed under mind control which creates a mystical interference with the ability of the Immortal Weapons to close the gate. He is then forced to battle his allies. Thanks to War Machine knocking him out, the mission is completed successfully.
During the " Avengers vs. In the Marvel NOW! Iron Fist and those with him were trapped in the Darkforce dome by Blackout when his powers were enhanced by Baron Helmut Zemo using the Darkhold. Plunging his fists into the molten heart of the dragon Shou-Lao the Undying infused the dragon's superhuman energy into Rand.
This, along with being trained by Lei Kung the Thunderer, gave Rand the power of the Iron Fist, allowing him to summon and focus his chi energy also called natural energy or life force energy to enhance his natural abilities to extraordinary levels. His strength, speed, stamina, durability, agility, reflexes and senses can all be greatly intensified.
He is able to concentrate his own chi and the superhuman energy from Shou-Lao's heart into his hand, with it manifesting as a supernatural glow around his hand and fist. So concentrated, this "iron fist" can strike with superhuman hardness and impact, while his hand becomes impervious to pain and injury. However, summoning the power required by this feat leaves Rand physically and mentally drained, unable to repeat the act for a time, as long as an entire day in certain instances, though after years of using the ability, it has become less draining.
He can focus his chi inward to heal himself or outward to heal others of injury, as well as to give himself psychic senses and to telepathically fuse his consciousness with another person. Centuries ago, the Yu-Ti Nu-An had a recurring dream associating a red-haired girl with the Phoenix and a dragon. He later finds a matching red-haired girl named Fongji in the streets of K'un-L'un and has her trained as the Iron Fist.
Fongji is successful in her test and becomes the Iron Fist, shortly before Da Vinci sees the Phoenix coming towards Earth. In 1,, BC, a K'un-Lun native named Fan Fei was born to the Green Lotus House and had taken a fascination with the cavemen that lived outside K'un-Lun; going so far as to train a few of them in secret.
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When she broke out, in the hopes that she will die fighting Shou-Lou, Fan Fei punched the dragon in his chest tattoo and gained his powers. Fan Fei was approached by Mephisto , who wanted her to use her powers to conquer Earth, but she declined. In response, Mephisto granted his gifts to the Gorgilla Clan. After recuperating, Fan Fei found herself at the entrance of K'un-Lun.
Lei Kung states that her sentencing was wrong, as they learned Shou-Lou was immortal, and wanted to bring her home. However, she declined, stating that Earth was her home and her fights here are just the beginning. They would go on to defeat it and seal it underground in what would later become South Africa. Iron Fist appeared in the pages of Spider-Girl 24, in which he is retired after the death of Misty Knight his wife in this universe.
However, he temporarily steps back into costume to aid Spider-Girl against the might of Dragon Fist. Iron Fist is shown twice in battle during the Marvel Zombies miniseries. Daniel Rand has appeared in Ultimate Spider-Man. Later, he appeared in the Warriors story arc issues along with Shang Chi , Moon Knight , and others. He reappears in the Ultimate Knights arc, as a member of a Daredevil-led team trying to take down the Kingpin.
In Ultimate Spider-Man , however, he has apparently betrayed the group to the Kingpin. Daredevil has uncovered the deception and ends issue demanding answers from Rand. In issue Iron Fist reveals that he has a daughter and the Kingpin threatened her life, so he chose his daughter's life over Daredevil's, and the rest of the heroes that teamed up to take down the Kingpin.
He did distract Kingpin while Daredevil grabbed Kingpin's wife. Rand is last seen with his daughter and his daughter's mother Colleen Wing. Iron Fist is one of the few heroes still alive in , he is known as the "Defender of the Streets" and now leads a large group of martial artists to continue his vigilante activities. Deadpool requests his aid to help deal with Wade's daughter, Warda, and Rand agrees to help his oldest living friend. In this reality, he unwillingly serves the long-reigning Emperor Zheng Zu , the master of the ruthless Ten Rings school, the enemies of the more benevolent Iron Fist school.
Rand-K'ai hunts after Shang-Chi , the exiled son of Zu, for the murder of his master Lord Tuan although he suspects the emperor to be involved. Representing the Iron Fist, Rand-K'ai enters the tournament to decide the new ruler of K'un-L'un and eventually confronts Shang-Chi along with Red Sai , master of the Red Hand and the emperor's assassin, in the penultimate round of the Thirteen Chambers. During the fight, Shang-Chi is poisoned by Red Sai, who confesses that Zu had sent her to assassinate Tuan but ultimately failed.
To spare his lover and her students from the emperor's wrath, Shang-Chi killed Tuan; Zu implicated and exiled his son for the murder to cover his own involvement. After the truth is revealed, Rand-K'ai uses his Chi to burn the poison in Shang-Chi's body and lets him pass so that he could defeat his father. After Shang-Chi emerges victorious, Rand-K'ai pledges himself to the new emperor.
Iron Fist is ranked as the th greatest comic book character of all time by Wizard magazine. From Wikipedia, the free encyclopedia. Art by David Aja. Danny Rand as Daredevil ; art by Michael Lark. Main article: The Immortal Iron Fist. This section needs expansion. You can help by adding to it. January Alter Ego 70 : July Back Issue! TwoMorrows Publishing 45 : 3— Comic Book Resources. Sound crazy? Yeah, Caden's therapist thinks so too.
Calendar believes the Campus is just a refuge in the boy's mind. And when Caden claims that he can touch people and experience visions about them, Dr. Calendar doesn't believe him.
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She tests him. She holds his hand. Calendar tells Caden's parents not to worry. And they apparently don't, allowing the boy to go out that night with a couple friends to see a concert at some converted warehouse. His mom drops a hint about the subway being dangerous, that trains are breaking down and overheating lately in the subway.
And the scene changes to…. We're told that the Campus is one mile beneath Philadelphia, and it was established in OK, just to remind folks, this secret lair underneath Philadelphia was seen during Dark Days: The Forge , when a character called "the great and powerful Immortal Man" was briefly shown talking about Duke Thomas' mom being offered membership in their immortal club. OK, so another one of Caden's visions is true.
A character called "The Hunt" is killing people down in the Campus. The Hunt's narration speaks of an "eternal battle" and reveals that his abilities and extended life are maintained by the taking of blood. But wait! There's another villain in charge here.