MABEL SCOTT - R&B Woman (2)

Heute mal ein wenig bekanntes R&B Sternchen weiblichen Geschlechts: Miss Mable Scott. Weil ich so recht keine Lust habe auf die Translation und der Text m.E. auch sehr gut und sachlich richtig ist, lehne ich mich an den "All Music Guide" Beitrag an:

Mabel Scott was born on April 30, 1915, in Richmond, VA, and raised in New York City. She developed her singing voice in the Metropolitan Baptist Church and led her own all-girl gospel group, the Song Cycles. It was around 1932 that 17-year-old Mabel Scott began singing at Harlem's Cotton Club with Cab Calloway's Orchestra and the dancing Nicholas Brothers. After moving to Cleveland in 1936, she and pianist Bob Mosley went to England, where she made her first recordings in 1938 for the Parlophone label. Scott toured Europe soon afterwards and would return repeatedly from 1940 through 1942. The Second World War forced her to relocate, and she chose to settle in Los Angeles. This placed her at the epicenter of the postwar West Coast jazz and R&B scene.
Following a short spell with Jimmie Lunceford's Orchestra, Scott established herself by 1943 as a mainstay at Central Avenue's Club Alabam, along with master of ceremonies Wynonie Harris. She sang with a group led by Lorenzo Flennoy during the mid-'40s and soon began recording again, first for the Hub label and then in 1947 for Excelsior. In 1948 she toured and scored Billboard R&B hits with "Boogie Woogie Santa Claus" and "Elevator Boogie." Scott married her pianist, Charles Brown, in 1949 -- this union would only last about three years. She made a series of excellent sides for King Records in 1950, for Coral in 1951, with both Brunswick and Coral in 1952, and four sides for the Parrot label -- with King Kolax blowing trumpet -- in 1953. Touring Australia in 1955, she made her final recordings there for Festival Records backed by Les Welch's jazz band. Disillusioned with the music business and unhappy after her second marriage, Mabel Scott now returned to her gospel roots, singing only in church for the rest of her long life. She passed away in Los Angeles on July 19, 2000 (Autor: Arwulf).

Nun erstmal was für's Auge ...

... Neuzugang auf EXCLUSIVE (78 rpm) ...

Gruß Ralf

ReIssues mit der absolut raren 1938er Schellack aus London/UK...

Another Boogie Woogie Girl : Mabel Scott
©2006JCMarion

Mabel Scott was born in Richmond, Virginia, in April of 1915. In 1921 she moved with her family to New York City where she began to sing in church and was soon part of a church choir at the Metropolitan Baptist Church called The Song Cycles. She turned to secular music at the age of sixteen and soon found work as a vocalist with Cab Calloway’s orchestra and appeared at the famed Cotton Club in Harlem with the band and the dancing Nicholas Brothers. By the time she was twenty one, she had moved to Cleveland, Ohio and was a vocalist with Bob Mosely with whom she traveled to England and made her first recordings for the British Parlophone label.


Because of the onset of World War II, Scott returned to the United States and moved once again, this time to Los Angeles and became a performer in many of the clubs along Central Avenue during the nineteen forties. Mosely returned to the band of Jack McVea. She appeared with Jimmie Lunceford’s band, with Wynonie “Mr. Blues” Harris, and Lorenzo Flennoy. Scott also appeared quite frequently at the Club Alabam with Johnny Otis. In 1946 she made her first American recording for the Hub label, and then on to Leon Rene’s Excelsior Records label. It was then that Mabel achieved her first success with “Boogie Woogie Santa Claus” and “That Ain’t The Way To Love”. Another good seller was “Right Around The Corner” and “Elevator Boogie” on Exclusive # 1326. In 1949 Scott married her pianist, accomplished R & B stylist Charles Brown, which would last only until 1952.
In early January of 1950 Exclusive Records ceases operations and left in the lurch are masters recorded by Mabel Scott. By late March King Records announces the signinbg of Scott to their label and the first recordings are set to be released. Late that month Mabel stars at Birdland in New York. In April Scott signs on to a touring unit headed by Bull Moose Jackson and also featuring Dusty Fletcher that will tour the South and Midwest for six weeks. In late May after the tour Scott will appear at Café Society Downtown in New York with Teddy Wilson, Timmy Rogers, and J.C. Heard for an extended engagement. In early June King Records releases “Baseball Boogie” and “I Found My Baby” on # 4368. In mid August “Fine Fine Baby” and Have You Ever Watched Love Die” is issued by King Records on # 4386. In September Scott opens with Timmie Rogers and Gene Ammons in the Loop in Chicago. In October it is announced that Swing Time Records has purchased masters recorded by Mabel Scott for Exclusive Records and the label plans to re-issue “Santa Claus Boogie” / “That Ain’t The Way To Love” on #239 in time for the holiday season. In November “Willow Weep For Me” and “Disgusted” are released by King Records on # 4410.


In early 1951 it is apparent that Mabel Scott has not seen much success with King Records and so in late April she is let go by the Cincinnati label but is quickly signed to the Coral Records label, a subsidiary of Decca. In June Scott appears at the Royal Theater in Baltimore and then on to the Riviera Nightclub in St. Louis for an eight day stand. In July Mabel’s first recording for Coral Records is out – the interestingly titled song “Catch ‘Em Young, Treat ‘Em Rough, Tell ‘Em Nothing” and “No More Crying Blues” on # 65057. In September Coral issues “Boogie Woogie Choo Choo Train” and “Somebody Goofed” on # 65063. In October Swing Time is again pushing their re-issue of Mabel Scott’s “Boogie Woogie Santa Claus” from 1948. In November Scott returns to Chicago’s Regal Theater with Wynonie Harris and Gene “Jug” Ammons for great business for a week on stage.
In early 1952 Scott appears at the Lincoln Theater in Los Angeles with Pee Wee Crayton. She also makes a return appearance after many years to the Club Alabam in Watts. At this time she calls it quits with Charles Brown as husband and wife. In late April the latest record for Coral is released. The songs are “Yes!” and “Shut Eye” on # 60703. In September Scott hits the road again, this time with Tiny Bradshaw, for a series of one nighters in the Midwest. For the third year in a row Swing Time re-issues “Boogie Woogie Santa Claus”. In February of 1953, Decca moves Mabel Scott to their recently reactivated Brunswick label in a move putting their R & B musical talent to that label and concentrate on the pop field for the Coral label. In May Scott appears for a week at Chicago’s Club DeLisa. In early July Scott signs on for a ten week stay in Atlantic City at the Harlem Club. During the summer she leaves Decca and signs with Chicago independent label Parrot Records headed by Al Benson. “Mister Fine” released by Parrot gets decent sales and airplay in Chicago. The flip is “ Mabel Blues” and is on Parrot # 780 recorded with King Kolax. In October Scott is teamed with vocalist Arthur Prysock at the Regal Theater.


In January of 1954 Parrot Records releases “Fool Burro” and “Do The Thing”, again with the King Kolax combo on # 794. That month Mabel does a show with sax honker Joe Houston at Los Angeles Elks Club. Mabel Scott’s “Boogie Woogie Santa Claus” originally recorded in 1948 lives on. The master was sold by Swing Time which had issued it every year since its acquisition in early 1950 has sold it to Hollywood Records and it will be released once more on # 1023. In April of 1955 Dootsie Williams announces the signing of Mabel Scott to his Dootone Records label, however no recordings were ever issued. Scott went on an extensive tour of Australia that year and recorded a few sides for Festival with the orchestra of Les Welch which accompanied her on the tour. Those were the last recordings Mabel Scott would ever make. Late in the year Hollywood Records announces that they are pairing Mabel Scott’s “Boogie Woogie Santa Claus” with Jimmy Witherspoon’s “How I Hate To See Christmas Come Around” on # 1023.
Mabel Scott became disillusioned with the music scene and the various business aspects, and was also troubled by another failed marriage. These factors led her to quit music and return to her gospel roots and the church – and there she remained for the next forty five years of her life. She passed away in relative obscurity in July of the year 2000.


Once again Europe comes to the rescue in keeping the music alive for so many of these forgotten performers. The French Jazz Classics label has two cds that chronicle the life and music of Mabel Scott. “The Chronological Mabel Scott : 1938 – 1950” and the second volume “The Chronological Mabel Scott : 1951 – 1955” has all of her recordings from the Parlophone side of 1938 to the final Australian tour tunes. Some of her tunes appear on many different compilation cds, but the complete story is on the two Classics volumes. Mabel Scott – perhaps the last of the “Boogie Woogie Girls”.

Am 14. August 1955 im Palladium
und am 29. August 1955 im Tonstudio ´Radio Theatre´..

SWING TIME RECORDS übernahm im Oktober 1950 genau
85 Master des maroden Exclusive-Labels, darunter auch MABEL SCOTT:

In October of 1950 the label purchases 85 masters from the now defunct Exclusive Records including those by Charles Brown w Johnny Moore & The Three Blazers, and Mabel Scott.

#238 is "Merry Christmas Baby" / "Lost In The Night" by Charles Brown, and
Mabel Scott "Boogie Woogie Santa Claus" and "That Ain't The Way To Love" on #239.

ELEVATOR BOOGIE:
Released on Exclusive by Mabel Scott in May 1948, it shot up to #6 on the R&B charts

Hallo,
mit Blues und Rhythm’n’Blues verbinden wohl die meisten keine weiblichen Künstler. Das ist nicht verwunderlich, denn zur Entstehungszeit dieser Musikrichtungen beschränkt sich die gesellschaftliche Rolle der Frau auf die klassischen Gebiete Erziehung, Haushalt und Familie. Dass eine Frau den Blues sang und spielte, war schier unvorstellbar, denn es passte nicht in das Bild, dass man damals vom weiblichen Geschlecht hatte. Ausnahmen bildeten wohl die weiblichen Stimmen im Kirchen/Gospelgesang, wie Mahalia Jackson („In The Upper Room“)

Trotzdem gab es schon immer mutige Frauen, die die gesellschaftlichen Fesseln sprengten. Die erste offizielle Blues-Plattenaufnahme einer Frau stammt aus den 20er Jahren. Sie ist von Mamie Smith, die 1921 den Titel „Crazy Blues“ einspielte und weder sie noch die Produzenten waren sich darüber im klaren, was für eine Welle dies auslösen und was für eine ungeheure Anzahl an Interpretinnen folgen würde.

Damals war es noch undenkbar, dass eine Frau mit einer Gitarre durch die Lande zog, um in den oft verkommenen Blues-Etablissements zu spielen, in denen meist ein rauhes, zweifelhaftes Publikum verkehrte. Das Klavier galt als das gesellschaftsfähigere Instrument für eine Frau. In den Texten besangen sie das reale Leben, wobei oft die Männer selbst die Ursache des weiblichen Blues waren. Die klassischen Themen handelten von Liebe, Sex, Angst, Gewalt, Plackerei, Drogen, Erziehung und Tod.

Die Akzeptanz der frauen in der schwarzen Musik ist nicht zuletzt Interpretinnen wie Memphis Minnie zu verdanken, die 1933 dem Musiker Big Bill Broonzy in einem Gitarrenwettbewerb schlug. Sie spielte das, was sie spielen wollte, ignorierend was die Plattenindustrie und die Gesellschaft gewohnt war.

Dieses selbstbewusste Vorgehen war in der Folge für viele Interpretinnen die Grundlage einer erfolgreichen Karriere:

Faye Adams
Mary Adams
Jewel Akens
Annisteen Allen
LaVern Baker
Lu Barker
Hadda Brooks
Ruth Brown
Honey Brown
Savannah Churchill
Tiny Davis
Margie Day
Varetta Dillard
Tina Dixon
Dorothy Ellis
Little Esther
Dolores Gibson
Lil Green
Vivian Greene
Lil Greenwood
Erline Harris
Gladys Hill
Rosetta Howard
Helen Humes
Fluffy Hunter
Damita Jo
Myra Johnson
Ella Johnson
Albinia Jones
Christine Kittrell
Annie Laurie
Julia Lee
Nellie Lutcher
Cherri Lynn
Gloria Lynn
Mitzi Mars
Madonna Martin
Big Maybelle
Zilla Mays
Rosemary McCoy
Alma Mondy
Chubby Newsome
Bertice Reading
Lula Reed
Ursala Reed
Mabel Scott
Kitty Stevenson
Laurie Tate
Sister Rosetta
Tharpe
Big Mama Thornton
Terry Timmons
Little Sylvia Vanderpool
Vivian Verson
Dinah Washington

Unter der Rubrik „R&B Women“ sind schon die Interpretinnen Nellie Lutcher, Mabel Scott, Christine Kittrell, Damita Jo, Helen Humes, Big Maybelle und Tiny Davis vorgestellt.
Ob die weiteren aufgeführten Interpretinnen nur den Blues oder auch den R&B vertraten, sei dahingestellt. Die Auflistung soll anregen, weitere Interpretinnen im Forum zu beleuchten.

Gruß
Dietrich