Is You Is Or Is You Ain't My Baby
Clean Head's Back In Town
Eddie Vinson Sings
Produced by Chuck Darwin
Recorded September 1957, New York City
AAMCO Records ALP-312
1958
Eddie Vinson - Vocal
Joe Newmann - Trumpet
Henry Coker - Trombone
Charlie Fowlkes - Baritone
Nat Pierce - Piano
Ed Jones - Bass
On bands 1, 5, 10 & 11
Gus Johnson - Drums
Frank Foster - Piano
On bands 2, 3, 6 & 12 only
Charlies Rosie - Tenor
Freddie Green - Guitar
Except on bands 1, 5, 10 & 11
Ed Thigpen - Drums
Paul Quinichette - Tenor
Except on bands 2, 3, 6 & 12
Bill Graham - Alto
Turk Van Lake - Guitar
Arrangers
Ernie Wilkins - bands 1, 4, 7, 8, 9 & 11
Manny Albam - bands 2 & 3
Harry Tubbs - bands 5, 6, 10 & 12
From the back cover: The simpler art forms are often the most enduring and meaningful. This is a truism in literature. It is applicable among the graphic arts. And the essential logic of this point if view obtains in the music world.
So it is that in the broad field of American music today, the simple blues exercises an influence that can only be termed tremendous. In its 12-bar form, and inits modifications – it is today one of the dominant elements not only in the Negro music field, where it was born, but also in the broad pop field, kin the country and western market, and finally – it continues as one of the basic elements in the more rarefied area of American music – Jazz.
So essential an element of American music could never really suffer an eclipse. It has always been with us. But it never had the mass acceptance it now enjoys. It has bowed out of the folk field; out of the area of the cultist. In short it is no longer the property of a limited group – be that group intellectual or close to the soil. The blues has become the property of the great mass of pop music buyers who are increasingly aware of the grass roots content of America song material.
There is little that is derivative about Vinson's blues style. It is authentic, rooted in the traditions of the Southwestern part of the United States, and reflects the Kansas City style of presentation.
Now 37 years old, Vinson was born in Houston, Texas. He started his professional career with Milton Larkin's territorial band, playing in and around that large area. He subsequently joined Cootie Williams band, and in 1945 formed his own group. All thru this period Vinson not only developed his blues singing, but acquired a distinctive style on the alto saxophone – and will be noted in the credits appended to these notes that Vinson has contributed several of the more interesting solo horn passages.
In 1947 Vinson recorded his greatest hit – Kidney Stew Blues," backed with "Old Maid Boogie." Shortly after, Universal Attractions booked Vinson and his 16-piece band into the Zanzibar, one of the showplaces of Broadway. During 1948 and '49 the Zanzibar booking contributed largely to establishing Vinson across the country, for the performances were broadcast via remote wire by the National Broadcasting Company.
In subsequent years, with the decline of the band business, Vinson was the first to cut his aggregation. He reduced it to six men and continued to tour extensively, covering night clubs and theaters. Today, Vinson works primarily as a single, specializing in his forte – the blues – and impressing as a season performer.
His blues style is distinctive – combining elements of the "shout" technique with his own tricks of phrasing – such as the "scream" and clipped verbiage and with which he is wont to terminate passages. Like all great blues singers, however, he treasures one attitude which is more important than any specific stylistic trick: that is, he sings from the heart. This is perhaps one of the several important elements which makes blues so satisfying to the listener.
There is another element: That is the song material. It is stuff of life. It is the endlessly-repeated story of love, of unfaithfulness, of tragedy and of pathos. Those not very well informed believe blue are necessarily sad in content. This is, of course, untrue. The term "blues" is now applicable to a type of song construction. It is true that many blues songs are sad or blue. It is true that they reflect the troubled mind and troubled heart; but there are happy blues, philosophical blues, and – especially in the Southwest – blues to which people jump and shout.
Most of the themes are represented in this package of songs. In "That's The Way To Treat Your Woman," Vinson's advice is as logical as might be obtained from a marriage or domestic relations counsellor. "Kidney Stew" has more profound implications, pointing up the advantages of tired and true women in comparison with those who are more glamorous and higher-priced. "Trouble In Mind" is yet another type of material – detailing the mental and emotional agonies besetting the frail human being. Other great blues are here: The Pete Johnson-Joe Turner classic, "Cherry Red"' George and Ira Gershwin's "It Ain't Necessarily So"; Chuck Darwin's "Sweet Lovin' Baby" and "I Just Can't Keep The Tears From Tumbin' Down."
It will be noted that Vinson himself – like so many artists close to the folk tradition – is also a song writer. He is represented here by "Cleanhead's Back In Town," "That's The Way To Treat Your Woman," "Your Baby Ain't Sweet Like Mine," "Hold It Right There" and "Kidney Stew."
The instrumentation on the various sides – as indicated before – is very much in the Kansas City tradition. It has been said that Kansas City gave the world Harry Truman and jazz. That is very true; and part of the jazz contribution was the distinctive, close-ensemble playing and blues shouting to be heard on this record. The musicians backing Vinson, for the most part, have had a close association with Count Basie, the great jazzman who, among other influences, reflects the Kansas City school. the arrangements are marked by soulful and inventive passages, packed with color and mood, with satisfying horn solos and sparkling keyboard work. All the sides are relaxed in feeling, and they will relax the listener.
For the optimum effect, try a side when you are blue. For the blues, there is nothing like the blues. – Paul Ackerman, Music Editor - Billboard Magazine
Cleanhead's Back In Town
That's The Way To Treat Your Woman
Trouble In Mind
Kidney Stew
Sweet Lovin' Baby
Caldonia
It Ain't Necessarily So
Cherry Red
It You Is Or Is You Ain't My Baby
I Just Can't Keep The Tears From Tumblin' Down
Your Baby Ain't Sweet Like Mine
Hold It Right There
