The premier blues shouter from the postwar era, Big Joe Turner’s roar could rattle the foundation of any gin joint he sang within — and that is with out a microphone. Turner was a resilient physique in the annals of blues — he very easily spanned boogie-woogie, leap blues, also the initial wave of rock and roll & roll, savoring great achievement in each genre. Turner, whose effective physique certainly matched up his vocal might, was something from the swinging, wide-open Kansas Town scene. Also in his teenagers, the big-boned Turner appeared entirely mature more than enough to gain entrance to several K.C. niteries. He finished up concurrently tending club and performing the blues before starting up with boogie piano get good at Pete Johnson through the early ’30s. Theirs was a relationship that would withstand for 13 years. The set initially journeyed to NY at John Hammond’s behest in 1936. On Dec 23, 1938, they made an appearance in the fabled Spirituals to Golf swing concert at Carnegie Hall on the costs with Big Costs Broonzy, Sonny Terry, the Golden Gate Quartet, and Count number Basie. Turner and Johnson performed “Low Down Pet dog” and “It’s FINE, Baby” in the historical present, kicking off a boogie-woogie trend that got them a long-running slot machine in the Cafe Culture (alongside piano giants Meade Lux Lewis and Albert Ammons). As 1938 found a detailed, Turner and Johnson waxed the thundering “Move ‘Em Pete” for Vocalion. It had been an exciting up-tempo quantity anchored by Johnson’s crashing 88s, and Turner would re-record it often over the years. Turner and Johnson waxed their seminal blues “Cherry Crimson” another 12 months for Vocalion with trumpeter Sizzling Lips Web page and a complete combo in support. In 1940, the substantial shouter moved to Decca and slice “Piney Dark brown Blues” with Johnson rippling the ivories. However, not most of Turner’s Decca edges teamed him with Johnson; Willie “The Lion” Smith followed him within the mournful “Careless Like,” while Freddie Slack’s Trio offered support for “Stones in my own Bed” in 1941. Turner ventured out to the Western Coast through the battle years, building a significant pursuing while ensconced within the L.A. circuit. In 1945, he authorized on with Country wide Records and slice some fine little combo platters under Plant Abramson’s guidance. Turner continued to be with Country wide through 1947, belting an exuberant “My Gal’s a Jockey” that became his initial nationwide R&B smash. Agreements didn’t end him from waxing a remarkably risqué two-part “Night and day” for the aptly called Stag imprint (as Big Vernon!) in 1947. There have been also solid periods for Aladdin that season that included a outrageous vocal duel with among Turner’s principal competitors, Wynonie Harris, in the ribald two-part “Fight from the Blues.” Few Western world Coast indie brands of the past due ’40s didn’t boast a minimum of a couple of Turner titles within their catalogs. The shouter bounced from RPM to Down Defeat/Golf swing Time and energy to MGM (those schedules had been anchored by Johnson’s piano) to Texas-based Independence (which moved a few of their experts to Area of expertise) to Imperial in 1950 (his New Orleans support staff there included a Extra fat Domino on piano). But in addition to the 1950 Independence 78, “Still at night,” non-e of Turner’s information were selling especially well. When Atlantic Information bosses Abramson and Ahmet Ertegun fortuitously slipped with the Apollo Movie theater to look at Count Basie’s music group 1 day, they found that Turner experienced temporarily changed Jimmy Rushing because the Basie band’s frontman, and he was having a hardcore go from it. Atlantic found his spirits by picking right up his recording agreement, and Turner’s heyday was going to commence. At Turner’s 1st Atlantic day in Apr of 1951, he imparted a gorgeously world-weary reading towards the shifting blues ballad “Stores of Like” (co-penned by Ertegun and pianist Harry Vehicle Wall space) that restored him towards the uppermost gets to from the R&B graphs. Following that, the strikes came in droves: “Chill Is definitely On,” “Nice 16” (yeah, exactly the same downbeat blues B.B. King’s generally connected with; Turner achieved it initial), and “NOT Cry” had been all performed in NY, and all strike big. Turner acquired no issue whatsoever adapting his prodigious pipes to whatever local setting up he was in. In 1953, he trim his initial R&B chart-topper, the storming rocker “Honey Hush” (afterwards included in Johnny Burnette and Jerry Lee Lewis), in New Orleans, with trombonist Pluma Davis and tenor saxman Lee Allen in rip-roaring support. Prior to the calendar year was through, he ended off in Chicago to record with glide guitarist Elmore Adam’ significantly rougher-edged combo and strike again using the salacious “T.V. Mama.” Prolific Atlantic home writer Jesse Rock was the foundation of Turner’s biggest smash of most, “Tremble, Rattle and Move,” which demonstrated his second chart-topper in 1954. Using the Atlantic braintrust apparently chiming in within the chorus behind Turner’s rumbling lead, the music sported plenty of pop options to merit a substantially cleaned-up cover by Expenses Haley & the Comets (along with a following edition by Elvis Presley that arrived a lot nearer to the initial leering intention). Instantly, at age 43, Turner was a rock and roll superstar. His jumping follow-ups — “Well FINE,” “Turn Flop and Take a flight,” “Cover and Look for,” “Morning, Noon and Evening,” “The Poultry as well as the Hawk” — all mined exactly the same good-time groove as “Tremble, Rattle and Move,” with sharp support from New York’s best program aces and typically outstanding creation by Ertegun and Jerry Wexler. Turner resulted in on a few episodes from the groundbreaking Television program Showtime on the Apollo through the middle-’50s, commanding middle stage having a joyous rendition of “Tremble, Rattle and Move” before saxman Paul “Hucklebuck” Williams’ music group. Nor was the big screen immune system to his substantial charms: Turner mimed several numbers within the 1957 film Tremble Rattle & Rock and roll (Body fat Domino and Mike “Mannix” Connors also starred within the flick). Upgrading the pre-war quantity “Corrine Corrina” was an influenced notion that offered Turner with another substantial vendor in 1956. But following the two-sided strike “Rock some time”/”Lipstick Natural powder and Color” afterwards that calendar year, his Atlantic result quickly faded from industrial acceptance. Atlantic’s documenting strategy wisely included recording Turner within a jazzier placing for the adult-oriented record market; compared to that end, a Kansas City-styled established (along with his previous partner Johnson on the piano feces) was laid straight down in 1956 and continues to be a linchpin of his legacy. Turner remained on at Atlantic into 1959, but no one bought his violin-enriched remake of “Stores of Like” (alternatively, a revival of “Honey Hush” with Ruler Curtis blowing a scorching sax break through the same program was a jewel in its correct). The ’60s didn’t create an excessive amount of enduring compound for the shouter — he in fact cut an recording with longtime admirer Haley and his most recent batch of Comets in Mexico Town in 1966! But from the tail end from the 10 years, Turner’s essential efforts to blues background were starting to receive appropriate recognition; he lower LPs for BluesWay and Blues Period. Through the ’70s and ’80s, Turner documented prolifically for Norman Granz’s jazz-oriented Pablo label. They were super-relaxed impromptu classes that often matched the allegedly illiterate shouter with several jazz luminaries in what amounted to loosely operate jam periods. Turner contentedly roared the familiar lyrics of 1 or another of his strikes, then sat back again while somebody had taken a lengthy single. Other notable record tasks included a 1983 cooperation with Roomful of Blues, Blues Teach, for Muse. Although health issues and how big is his humongous body compelled him to sit back during his latter-day shows, Turner continuing to tour until quickly before his loss of life in 1985. They known as him the Employer from the Blues, as well as the appellation was a classic fitted one: when Turner shouted a lyric, you had been certainly at his beck and contact.
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|WPC 56||2013-2015||TV Series performer - 4 episodes|
|Vegas||2012||TV Series performer - 1 episode|
|L.A. Noire||2011||Video Game as Harris Joe Turner, "Battle of the Blues, Part 1" / performer: "Battle of the Blues, Part 1"|
|The Express||2008||performer: "Shake, Rattle And Roll"|
|Jukebox Rock 'n' Roll Vol. 1||2007||Video performer: "Okee Shamokee Pop"|
|Lackawanna Blues||2005||TV Movie performer: "Boogie Woogie Country Girl"|
|The Blues||TV Series documentary performer - 1 episode, 2003 writer - 1 episode, 2003|
|The Singing Detective||2003||performer: "Flip Flop And Fly"|
|Elvis Presley: His Early Performances||2002||Video documentary writer: "Flip, Flop and Fly"|
|Hollywood Rocks the Movies: The Early Years (1955-1970)||2000||TV Movie documentary performer: "Shake, Rattle And Roll", "Lipstick, Powder And Paint" - as Joe Turner|
|Paul McCartney: Live at the Cavern Club||1999||TV Special writer: "Honey Hush" - as Joe Turner, uncredited|
|Liberty Heights||1999||performer: "Shake Rattle and Roll"|
|The Rainmaker||1997||performer: "Woman You Must Be Crazy"|
|Corrina, Corrina||1994||performer: "CORRINE, CORRINA"|
|Bluesland: A Portrait in American Music||1993||Documentary performer: "Shake, Rattle & Roll"|
|Malcolm X||1992||performer: "Roll Em Pete" / writer: "Roll Em Pete" - as Joe Turner|
|Uncle Buck||1989||performer: "LIPSTICK, POWDER AND PAINT" - as Joe Turner|
|Last Exit to Brooklyn||1989||performer: "The Chill Is On" / writer: "The Chill Is On"|
|Short Circuit 2||1988||performer: "Shake, Rattle, and Roll" - uncredited|
|The Big Town||1987||performer: "SHAKE, RATTLE AND ROLL"|
|Blues for Central Avenue||1986||Documentary writer: "Roll Em Pete"|
|This Is Elvis||1981||as Lou Willie Turner, "Flip, Flop, Fly"|
|All Night Long||1981||writer: "Honey Hush"|
|The Buddy Holly Story||1978||performer: "Corrine, Corrina"|
|Rum Runners||1971||lyrics: "Mac Allister's Wedding Song" / performer: "Mac Allister's Wedding Song"|
|Shake, Rattle & Rock!||1956||performer: "Feelin' Happy", "Lipstick, Powder & Paint", "Choker, The", "Rock, Rock, Rock"|
|Stage Show||1956||TV Series writer - 1 episode|
|Rhythm and Blues Revue||1955||Documentary performer: "Shake, Rattle and Roll"|
|Rock 'n' Roll Revue||1955||Short performer: "Okimoshebop"|
|Show Time at the Apollo||1955||TV Series performer - 2 episodes|
|Roots||1977||TV Mini-Series||The Singer|
|Gunsmoke Blues||2004||Video documentary|
|Arena||1985||TV Series documentary||Himself|
|The Last of the Blue Devils||1979||Documentary||Himself|
|Nothing But the Blues: Blues Scene||1967||TV Movie||Himself|
|Nothing But the Blues||1966||TV Movie||Himself|
|Shake, Rattle & Rock!||1956||Himself - Singer|
|Rhythm and Blues Revue||1955||Documentary||Himself (as Joe Turner)|
|Rock 'n' Roll Revue||1955||Short||Himself|
|Show Time at the Apollo||1955||TV Series||Himself - Singer|
|The Atlantic Records Story||1994||TV Special||Himself|
|Bluesland: A Portrait in American Music||1993||Documentary||Himself - Performer|
|Rock and Roll: The Early Days||1984||Video documentary||Himself|
|Jukebox Rock 'n' Roll Vol. 1||2007||Video||Himself|
|Soul Deep: The Story of Black Popular Music||2005||TV Mini-Series documentary||Himself|
|The Blues||2003||TV Series documentary||Himself|
|Standing in the Shadows of Motown||2002||Documentary||Himself|
|Walk on By: The Story of Popular Song||2001||TV Series documentary||Himself|
|The History of Rock 'n' Roll||1995||TV Series documentary||Himself|
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