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Tales From the Woods- Ponderosa Stomp #2 Review -Night 2

Ponderosa Stomp - 2003,
Rockabilly Night – Night 2 - by Ken Major

Clairbone Joseph Cheramie
At 4pm Bernard, John Howard, Ian McNeil and I were rummaging in Thrift City, where Ian found some interesting 78's, and by 5pm we were in front of the stage ready to party for the next 12 hours or so. Actually this was a big mistake because the time could have been better spent chatting with the artists as did Linda and Lee. Bang on time the cheerful 64 years young Joe Clay positioned himself behind Deke Dickerson's barrage of drums and showed why he is such a firm favourite on the live European scene. A La. native, born in Harvey, Joe formed a trio as a kid and in 1955 shared the Louisiana Hayride with Elvis and later backed his idol on drums at the Pontchartrain Amusement Park gig. Does anybody know if this was the Aug 9th 1956 "beach" gig? If so Joe can autograph my repro poster! Joe even appeared on the Ed Sullivan show before Elvis, and by the time in 1956 when RCA recorded him with Link Davis and Hal Harris in Houston on their Vik subsidiary, Joe had already played shows with Carl Perkins, Fats Domino and recorded with Mickey Baker. Drifting out of the limelight he still played around N.O. with Smiley Lewis and Frankie Ford etc, and during the '80s was re-discovered by us Brits.
Joe opened with "Cracker Jack" (VIK 0218) from his 21/7/56 session, and his driving exuberance and energy laid the platform for the rest of the Stomp rockabillies to follow. From the 25/4/56 session we had Link Davis's "Sixteen Chicks" (VIK 0211) then Penniman's "Lucille". Other classics followed in the contracted 30 minutes, but my pencil was wedged behind my left lug and I was "like gone man!" Joe once played guitar at the JazzFest but this time was content to remain behind the drums for most of the set. Maybe both Joe and Billy Lee Riley could be contracted to play some guitar at their next UK gigs? With his arm held high and thumb acknowledging the audience's reaction to another successful gig, the black and white shirted Joseph retired to the nearest bus-stop for the possibility of a free lift back to Gretna, his current home base.

Jay Chevalier
The next cat to appear caused a few gasps front of stage. With back-up band Deke Dickerson and the Eccofonics tuning up, Goldband label's rockabilly legend Jay Chevalier strolled on to the stage. A potted history reveals that Jay frequently played with his good friend Gene Vincent in Norfolk, Virginia. In '62 played with Carl Perkins and in '63 had Dale & Grace in his band. In the US Jay became famous for his friendship with the governor of Louisiana - Earl K. Long and for his recording of 'The Ballad of Earl K.Long'.
Dressed all in black, brushed back light brown hair with a whisp of grey, tie-less and a hollow body electric guitar slung around his neck I would have put 5 bob on "Folsom Prison Blues" as an opener, and was I right? Read on brother. Jay stood sideways on to the audience, legs menacily astride, curled up the corner of his lip Elvis style, and holding his guitar high a la Johnny Cash thrust it forward as he hit the first chord. Fortunately there were no bet takers because Jay was into the familiar but a great rendition of Elvis's "That's All Right". 'Billy Cannon' (famous US football player) cut on Pet in 1961 followed, then a variation of 'Crawdad Song' attributed to New Orleans, 'Castro Rock', 'Kruschev & The Devil', 'Johnny B. Goode', 'Bye Bye Johnny' and 'Rock And Roll Angel' aka 'Honky Tonk Angels' Look out for the film 'Blaze' which was made about Long, and impress Jay when no doubt he appears at a future Weekender, be prepared for a fascinating guy who is a true celebrity back home. Believe me guys, we have seen a few rockabilly duffers over the years but Jay ain't one, he looks great, youthful, and has all the rockabilly movements. I managed to sneak a few words with Jay and his attractive wife Gisela, and a very amiable couple they are

Eddie Bond
Not too many rockabillies originated from La. so a little poaching in Tennessee brings on that Rocking Daddy from Memphis, the portly entrepreneur Eddie Bond. Most of you guys would have legally obtained your first Bond titles on the Mercury Rockabillies LP, and first seen the man at Dave Webb's famous 1992 Royal Naval Club Association one-off gig in Plaistow, London, with that motley crew the Rough Diamonds. Looking good at 69 years, sporting a gold shirt, matching tie, white jacket, black slicked back hair and sideburns, for those fans who had travelled hundreds, if not thousands of miles at great expense, the next 15 minutes and 4 songs later must have made it all worth while!
Minus his guitar Eddie opened with his first Mercury release, the Sonny Fisher classic 'Rockin' Daddy' (rec. 17/3/56), then his 2nd 'Slip Slip Slippin' In' (rec. 9/6/56). The original Stompers line up on this great rockabilly included Reggie Young, Tommy Potts, Johnny Fine and Jimmy Smith, however this night Deke and his boys provided the crisp rockabilly back up, and judging by the whoops and yells this side of the stage Eddie and the band were cookin'. It is incredible to think that that this senior rockabilly singer/songwriter knew Scotty Moore when he was with the Doug Poindexter band, hired Elvis, Scotty & Bill for his radio shows, played with Eddie Cochran and was a regular on the Louisiana Hayride. He owned several radio stations and clubs and appeared regularly on TV shows, this guy has not only done it all, he knows just about everybody in Southern showbiz. Next crackeroo was the 'Slippin' flipside 'Flip, Flop Mama' and audience reaction was equally enthusiastic, and finally 'Tore Up' which I thought was a strange finale to a rather short set. A little later during the evening Eddie, if he had stayed around, would have met up with Scotty and Bill, and also Sam The Sham on Thursday night whom he brought to Memphis when a fledgling, and became his booking agent for 2 years. So the man who was once part of Bob Neal's "Stars Incorporated" tour revue, plus Elvis, Cash, Warren Smith and Perkins, nearly 50 years later quit the Ponderosa Stage, linked up with his wife Gladys and to fans screaming for more exited into the warm evening air.

M/s Ozen
I first heard a Barabara Lynn Ozen record at London's Scene Club in 1963, it was her version of Otis Blackwell's 'Don't Be Cuel'. Released on Harold Lipsius's Jamie label in '63 (master no. 1244, matrix J-NL 9) I remember this as being introduced by someone as "the slow version". Wonderful and sultry with that Inez Foxx feel to the production, I learned later that it was not surprising for Barbara to record an Elvis song since when she was originally known as 'Bobbie Lynn & The Idols they did play a lot of Elvis's material including 'Jailhouse Rock'. Barbara's professional recording career started when Huey P. Meaux quit his barber's shop to promote Barbara after arranging a recording session in Cosimo's studio in the Crescent City. With Dr. John on bass 'You Blew A Good Thing' was among several to be leased to Jamie and released in '62. Assuming we'll have another Barbara Lynn sighting in the not too distant future I'll leave to the TFTW 'soulgents' fraternity to educate us with a comprehensive history of this soul diva.
Having moved away from my prime front of stage position where I swear another 20 took up residence, the 61 years young Texas born Barbara walked on wearing a silver figure hugging dress. With a white left handed solid Fender slung to her waist, thumb pick in position, the audience went crazy, and she became the first contender for 'person of the match'. RnB/ soul drenched vocals, the audience clung on to every word and each song finished with a roar of appreciation. I tried to get back to my original place, without success, and remained in the thick of the crowd a hootin' and a hollerin' with the best of them. The following selection oozed by Barbara will be indelibly retained in the memories of her fans and new fans made that night: 'You'll Lose A Good Thing' '67 (UK Sue 4038), 'Second Fiddle Girl' '67 (UK Sue 4028), ' Oh Baby We Got A Good Thing Going' '64 (UK London 9918} ' I'm A Good Woman,' 'Until Then I'll Suffer''72 (UK Atlantic 2091133), 'Sweet 16', encore 'I'm A Good Woman'

James Alton Fautheree
Neither Shaky Lee or myself realised who Jimmy was until we spotted his latest CD just before he took the stage, and I already had it in my collection! I observed 69 years old Arkansas born Jimmy and his wife Nancy standing stage-side, Jimmy looking very much the country contribution., very smart, fit with his black hair swept back, sporting a western 'salt n'pepper flecked jacket, black shirt and bolo tie. Don't let Jimmy's serious countenance (as captured in early photos) put you off, very approachable and charming to boot! Jimmy cut several solo sides on Capitol, plus recordings on Chess, Decca, Vin and 'D', in studios such as Petty's in Clovis , J.D. Miller's in Crowley and Cosimo's in New Orleans.Appeared with Elvis, Hank Williams and Slim Whitman plus numerous appearances on the Lousiana Hayride. For a great introduction to Jimmy plus Johnny get American Music Magazine Nr. 91 March 2002 plus Bear Family CDs15771 and 16375.
On stage Jimmy strapped on his cream Fender Telecaster and with Deke Dickerson deputising for Johnny, Jimmy came into his own. A wonderful authentic hillbilly set with Jimmy and Deke alternating on lead and Jimmy cutting superb guitar breaks. In traditional hillbilly fashion Jimmy was not that animated on stage, but the quality of voice, timing and searing guitar licks will leave you to do the jumpin'. A must for fans of rockin' hillbilly. For Shaky Lee and Mark Lamarr - game, set and match'.

The numbers played that night included the below, I show the original recorded labels, master number and date:

1. 'Love Me' '55 (Chess 4863}, 2 versions on the same label number by Jimmy & Johnny
2. 'If You Don't Somebody Else Will' '54, as Jimmy & Johnny ( Feature 1092}, also Chess 4859.
3. 'Sweet Love On My Mind' (with brother Lynn Fautheree) '56 {Decca 30061}, the Rock n'Roll Trio recorded it first on July 5th 1956.
4. 'I Can't Find The Doorknob' '58 as Jimmy & Johnny, (D 100)
5. 'Raunchy', allegedly Bill Justis heard Jimmy play this backstage at the Hayride, the rest is history! Martyn Harvey, UK's greatest instrumental collector would have doffed his baseball cap to this brilliant version.
6. 'Knocking On The Front Door (Pounding On Your Back)' '51 (Capitol 6874}
7 'Baby It's Love' '58 (as Johnny Angel) (Vin 1004} recorded Cosimo's Studios in New Orleans, b/up Huey Smith pno, Lee Allen tnr, Alvin Red Tyler bar, penned Holly/ Montgomery.
8) 'I'm Digging A Hole To Bury My Heart' '51, self penned (Capitol 2153).

Delmar Allen Hawkins
20.45 ands the buzz around the hall confirmed Checker label's most famous blue eyed rocker was due to hit the stage. Louisianan Dale Hawkins first and only London sighting was on the 30th Nov 1997 at the Wood Green Tennessee Club. TFTW USA contributor Chuck Baker was at that gig and reminded Dale that they had last met up in Chicago 1957! I remember being unimpressed with the show that evening. Dale's stage clobber had gone missing in transit, without guitar and clutching a hand mike, he seemed to spend a lot of time waving his arms about or with his back to the audience chatting to the band (Robert Gordon's mentor?). However, new century and I was now prepared to wipe the slate clean. Dale's still the right side of 70 (by 3 years), and I should have been prepared for what was to hit the stage. Obviously the Tennessee Club stage had been to small for this 'Tornado' and perhaps I had sensed the frustration, however this was going to be the rockabilly's reply to Nathanial Mayer 'the whirlwind of soul', who devastated us the night before.
Clutching a hollow body acoustic guitar, the silk shirted legend buttoned on the axe and with a look as wild as his greying hair thrashed across the stage like a demented madman. I heard at least 2 gasps from the audience each enquiring "what is he on, I'll have some of that"! Dale's history is well known among the collectors therefore does not require screeds of info from me, however I have to inform our more sane readers that young Dale's background was rooted in Blues and Rn'B around Shreveport, and working for Jewel Records would have given him great opportunities to hear plenty of 'black magic' as it was happening.
Back to the show. Crouching down like a wildcat, then leaping in the air, guitar and legs going in opposite directions, Dale continued to put back the visuals into rock n'roll. Note taking abandoned I joined in the raucous throng who decided that the Ponderosa Stomp is nothing but a helluva rock n'roll party which is of course which is what New Orleans is all about. I can recall Ruth Brown's 'Shake A Hand' as the opener, 'This Train Is Bound For Glory', 'Little Pig' (Checker 892), the top side 'Tornado' 'Da Do-Dada' (London 8728), 'My Babe' (Checker 906) Tarheels Slim's 'Wildcat Tamer' and 'No. 9 Train,' then the moment we all had been waiting for. Up stepped a smiling James Burton to provide the electrifying intro to you know what. A thousand cameras flashed as the duo recreated history with their all so live version of 'Susie Q' (London 8482), the man who wrote and sang it backed by the original guitarist. Was there polite applause? Was this Blighty? The good old southern boys gave like they only know how, a whoopin' and a hollerin' before Jimmy settled down to his contribution. Before I proceed, the following are a few Dale Hawkins review snippets from Stomp 2002 and recent shows: "Cream of the crop at the Stomp - Dale Hawkins performance was electrifying". "The architect of swamp rock boogie" "The type of wild genius it takes to create trul;y inspired rock n'roll" "Still sounds like a stone rockabilly, as wild as he was when he stormed the charts with 'Susie Q".

James Burton
What goes around comes around. The original Wood Green, London Tennessee Club hosted James on 1st July 1999. and again I remember being unimpressed. No fault of Jimmy, but the lead singer decided he (the lead) was the star of the show and Jimmy was very much the sidesman. All my photos depict an unsmiling Jimmy, but I doubt if he really cared less. However we had a very different James at the Stomp. Wearing a red/black shirt with embroidered guitars, gold chain hung low around his neck Jimmy launched into the well established favourites. Again little info is required save another Louisiana boy (only 64), and backed up big names on the Louisiana Hayride in the '50s. Worked with Charles Dale's favourite rocker - Ricky Nelson on record and TV, and with Elvis until his death in '77. A musician's guitarist whose integrity is acknowledged by professionals and amateurs alike. So, already picking the strings of his gold scrolled Fender Telecaster (obtained his first one when 12) and Deke on vocals, we had 'Travelin' Man' '61 (London 9347), the top side 'Hello Mary Lou', 'Burning Love' and 'Suspicious Minds'. Still very much a sideman, so no speeches, but Jimmy was at least aware he was the star and enjoying the moment.

Leslie Johnson
I guess all eyes were fixed on the pickin' to notice that black scallywag Leslie 'Lazy Lester' Johnson appear from somewhere. Lazy decided we wanted some country but was too lazy to actually learn the words of Merle Haggard's 'I'm A Lonesome Fugitive'. With James still providing the lead guitar backing and Deke & co. right on in there, Lazy attempted to read a printed version. Unfortunately Lazy had lost his spectacles and relied a while on Jimmy reading the transcript for him to sing! Wonderful and crazy, could only be the Ponderosa Stomp. Fortunately Lazy borrowed a pair (he's near sighted if you are ever required to assist!) and closed with 'Swinging Doors'.

Rock n'Roll Trio/D.J. Fontana
If at this point "Honky Tonk Joe was knocking at the door" there is no doubt he would have been greeted with a bottle of bourbon in one hand and a guitar in the other! The Ponderosa was stompin', it was only 10pm and not only did we have the legendary 'Johnny Burnette Trio' (even if in name only) taking up positions on stage, but another Royal Naval Club triumph took over the drums - D.J. Fontana! The original 1956 US Coral label Trio included Johnny and Dorsey Burnette plus the late Paul Burlinson. Johnny's son Rocky Burnette re-formed the Trio in 1977 with Paul and have been firm favourites on the European rockabilly scene. However the modern Trio had never impressed me and sadly nothing was going to change.
The Trio launched into 3 of their great 1956 rockabillies - 'Tear It Up' (Coral 61651), then including Kim Wilson of the Fabulous Thunderbirds continued with 'Oh Baby Babe' (Coral 61675) and 'Honey Hush' (UK -Vogue Coral 72227). Interesting set but again lacked lustre, Paul appeared pleased to pull of the guitar solos, just, but I have to admit preferring some of younger r/billy boy bands who in my opinion have managed to imitate the fuzzy original Trio sound better than the above. Jeff Sarli then took lead vocals on Ron Holden's '60 flipside rocker 'My Babe' (UK - London 9116) and did a credible version of 'Folsom Prison Blues'.

Scotty Moore & Friends
Now it was getting surreal. With Elvis's original ex drummer D.J. Fontana remaining on drums, Elvis's ex original '54 guitarist the jovial Scotty Moore took the stage. I am sure many of us could not help but ponder how great it would be if to complete the legendary trio the King himself, could manifest - the great Jerry Lee! So, the ex- employee of the late Sam Phillips, the man who last worked with Elvis '68, oblivious to his fans, straps on his Gibson. With Rocky offering an uninspired vocal of 'That's All Right' (Sun 209), Scotty re-created the guitar pickin' Sun sound perfectly, however the main man was noticeably not happy. Next was the flipside 'Blue Moon Of Kentucky' the frown worsened. However all was saved when Big Sandy took the vocals on Burnette's 'Lonesome Train' (London flip to Honey Hush) and 'The Train Kept A Rollin' (Coral 6179) and Scotty chirped up considerably, probably because they were not 'his songs'. Back in the '50s Scotty had booked the original Burnette brothers for his Memphis club, perhaps tonight he was reminiscing? Next classic was 'My Baby Left Me' (UK-HMV 235) and I believe it was the young Elvis look alike Nick Willett who spat out the vocals and provided rhythm guitar. At this point Scotty smiled several times. I was not that struck with young Nick, he certainly plays the shy southern boy but could do with a bit of fire in his belly, mind you the girls certainly went for him in Hemsby and possibly would have done at the Stomp, if any were under the age of 63! (just joking Ike). Bizarrely, somewhere along the line rock n'roll's greatest drummer, Earl Palmer, took over the kit and backed up Scotty on his instrumental 'Scotty's Blues' followed by 'Kansas City'. Afterwards that black Excello scallywag, Lazy Lester, appeared from nowhere again to blow some harp on the Little Junior Parker '53 RnB classic 'Mystery Train' (Sun 192). As a logical follow up Lester then got country with Hank's 'Your Cheatin' Heart.' Lester was a happy bunny singing country music since Jay Miller of Excello Records denied him the recording opportunity. The thing about Lazy is that he seems to get away with it, and for many was the 'entertainer' of Rhythm Riot. 'Hound Dog' (HMV 249) completed the Scotty Moore and Friends set.

Billy Lee Riley
It was now 11.30pm or so, my legs and feet were aching and I pledged I would make for a chair irrespective who the next guest was. A mighty roar hit the ceiling, I had walked away from the prince of the pensioner's rockabilly scene - Billy Lee Riley! I thought the roar may have been for the fact that Billy had picked up a guitar (which I am reliably informed he did in Utrecht) but unfortunately not. Rockabillies should be contracted to carry a guitar even if they don't play it, hand mikes are for the Las Vegas lounges. I first saw Billy at the Royalty, New Southgate, London, with Winkles Wilkinson, way back and many times since. His voice still carries the resonance of his '56/57Memphis Sun record vocals, but like many original rockers we cross our fingers that we get the full goods (which we almost did at the Rhythm Riot show). I leave it to the next Billy Lee reviewer to give the potted history. From half way back the sound was great, Deke was continually providing spot on back-ups and 'Good Rockin' Tonite', 'Rock n'Roll Ruby' and 'Flying Saucers Rock n'Roll' ' hit the spot. Unfortunately I could not list further numbers but there were no surprises that I/we recall. My photo of Billy nearly being pulled off stage confirms he put on one hell of a show and calls for encore matched the opening roar.

Ray Sharpe
65 years young Ray from Fort Worth, Texas, has made a couple of visits to the UK and scorch marks remain as evidence of his blistering shows. A powerful and dynamic performer Ray received tremendous applause as he took the stage and there was no anticipation we were to be disappointed.
A protégé of the late '50s, in the UK some of us having heard Ray's high pitch vocals on'Linda Lu'/Red Sails In The Sunset' (London 8932) assumed Ray was white. Interestingly Ray was weaned on Country radio, and could have preceded Charlie Daniels as the first national black country star by a few years if he had cut a few successful country tracks. The mind boggles as to what might have happened if Jay Miller had recorded a country Lazy Lester and had gone national! I guess Ray has to be considered a 'one hit wonder' but as a multi-talented performer he can out rock many an established vintage rocker. Prior to 'Linda Lu', Ray & The Blue Whalers, a group he formed in 1956 had in 1958 already released 'That's The Way I Feel/Oh My Baby's Gone' for Dot but did nothing nationally, however the Lee Hazlewood produced 'Linda Lu' and 'Red Sails In the Sunset' in a complexity of releases on Jamie is what Ray is best remembered for. Ray did go on to have releases on Gregmark, Garex, U.A., Park Avenue, Monument, Atco, LHI etc etc,
Looking cool in a red shirt, hair tied back and clutching his Gibson Custom , Ray quickly opened up with his 1959 rocker Silly Dilly Millie', then Paul Gayton's 'For You My Love' '60 (Jamie 1155), Don & Dewey's 'Justine' '60 (3-Trey 3011), Chuck's 'Johnny B. Goode', 'Monkey's Uncle' '59 (Jamie 1128) which Ray said was recorded in Cosimo's studio, and 'Linda Lu' '59 (Jamie 1128). Those unmistakeable Berry guitar riffs had cats n'chicks jiving in the hall, and 'Monkey's Uncle' where Chuck Berry meets Sedakas's 'I Go Ape' was for me the peak. Ray of course could do no wrong with an itinerary of the previously mentioned numbers and Deke's back-up just enhanced what was the ultimate in rock n'roll.

Tony Joe White
Tony Joe had previously appeared in a double date at London's 'Borderline' club. I was implored to go but tickets were sold out, Actually, apart from 'Polk Salad Annie' (abb. 'Annie') I had no idea of Tony Joe's heritage, therefore I really knew not what I was missing. Pro-rata per artist the cost of catching up with Tony Joe at the Stomp was probably 50 cents admission so hardly a loss if I was to be disappointed.
Tony Joe, to the dismay of many, settled down in a chair on stage, thus the view for a lot was obscured. Attired all in black, including shades, the man evoked a certain mysterious persona and the vibes around me indicated something special was about to happen. Tony Joe is till a very young man, exactly 13 months older me (he was born 23 July 1943), and another home grown La. boy out of Oak Grove. He had a couple of bands before moving to Texas to form 'Tony's Twilights'. Joining Monument label in the late '60s Tony Joe had at least 4 singles out before recording 'Annie/Aspen, Colorado' (Monument 1104) in 1969, and again another 4 on Monument before joining Warner Bros in 1970. Several LPs joined the recordings roster, and various other labels had been added to the CV. During the '70s & '80s Tony Joe toured with Creadence Clearwater, James Taylor, and during the '90s toured with Eric Clapton and Joe Cocker, During this period Tina Turner recorded 4 of his songs. In 1993 he signed with Remark Records and cut 2 albums, and in 1999 toured Australia and Europe, cut the 'One Hot July' album and in 2001 released his acoustic album 'The Beginning'. So having records covered by the likes of Elvis ('Annie'), Ray Charles, Joe Cocker, Etta James, Hank Jnr., and Waylon Jennings, plus TV jingles for McDonalds and Levis, his 'quality assurance' certificate was definitely BS approved! Donning a harmonica rack and playing acoustic with just a drummer back-up, the man began to weave a voodoo spell which entranced all but the uninitiated. A dark husky voice, chop chop chunky chugga guitar the rhythm was hypnotic, and even I craned forward to catch the bayou blues lyrics. His lengthy repertoire included 'Annie', his self-penned 'Rainy Night In Georgia' ' Roosevelt & Ira Lee plus many many more which were mostly new to me. This was for Bernard Donovan 'the man of the match' and for me a great 50 cents worth of blue eyed, soul drenched, gut bucket swamp pop blues.

Jerry 'Boogie' McCain
1.30am and the hall is full, or maybe it was 2.30, the black Excello blues king, Jerry McCain certainly did'nt care. Wearing a black cowboy hat, jeans and a T shirt depicting a photo of himself, only the late Ernie K Doe could be matched for his cheeky arrogance. During the Scotty set the white slap headed Kim Wilson provided the harmonica gymnastics, and Jerry was not going to let Kim get away with that! Before playing a note Jerry told us all in very convincing terms and at length that he, Jerry, plays the r-e-a-l harmonica and we should ignore all the other pretenders.
Jerry was born June 19th 1930 in Gadsden Alabama and started to play the harmonica at the age of 5, also plays drums, guitar, trumpet and Jews harp. Played the streets and a local radio station and later on the streets formed 'The Upstarts' which included Chris Collins on guitar, and either of Jerry's 2 brothers at various times on drums. When Jerry got to Trumpet he recorded his first record 10/10/53 'East Of The Sun/Wine-O-Wine (Trumpet 217). Leaving Trumpet Jerry joined Excello in 1955 where he recorded 12 tracks with Chris Collins and Jerry Sheffield amongst others. In 1960 he cut stuff for Rex, allegedly again with Chris Collins, including 'She's Tough' and 'Steady'. Jerry later went on to join Okeh (Columbia) and cut Hampton's 'Red Top' with a top dollar support including Boots Randolph and Lloyd Green.
So, back to the show and Jerry was taking no prisoners. The stage was rocking and Jerry was blowing like the proverbial demon, the overall sound was pure Excello and again this was as good as it gets. Taking a variety of harmonicas from his case we were treated to all manner of tricks. Harps up his nose as he snorted the blues, wedged within his mouth and cupped to echo and wail. All the favourites were there: 'My Next Door Neighbour' 'Welfare Cadillac' 'She's Tough' 'Steady' etc. I was too far gone even to figure out the sharp end of my pencil and along with John Howard we rocked & rolled and howled for more.
3am we gave up, a tremendous night, rockabilly biased but the white dominance nicely interdispersed by some occasional blues and r n'b artists. Outside fans were meeting n'greetin', or attempting to catch up on a few minutes sleep, our taxi drew off managing to avoid the several weary bodies of fans sprawled kerbside. Already we were wondering what tomorrow, the Blues night, and re-start of the JazzFest might bring.

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