Before he was 21 yrs . old, Texas-born pianist Small Willie Littlefield got etched an all-time traditional in to the blues lexicon. Just problems was, his unique 1952 waxing of “Kansas Town” (right here entitled “K.C. Caring”) didn’t sell sufficiently showing through to the graphs (thus leaving the entranceway open up for Wilbert Harrison to invade the airwaves using the ubiquitous Jerry Leiber/Mike Stoller structure seven years later on). Affected by Albert Ammons, Charles Dark brown, and Amos Milburn, Small Willie had been a veteran from the R&B documenting wars by enough time he waxed “K.C. Loving,” having produced his debut 78 in 1948 for Houston-based Eddie’s Information while still in his teenagers. Following a few edges for Eddie’s and Independence, he moved to the Bihari Brothers’ Los Angeles-headquartered Contemporary logo design in 1949. There he instantly strike paydirt with two main R&B strikes, “It’s Midnight” and “Farewell” (he added another graph entry, “I AM Shed,” in 1951). Littlefield demonstrated a feeling upon shifting to L.A. during his Contemporary tenure, playing at region night clubs and touring using a music group that included saxist Maxwell Davis. At Littlefield’s initial L.A. program for King’s Government subsidiary in 1952, he cut “K.C. Loving” (with Davis on sax), but neither it nor many fine Government follow-ups came back the boogie piano expert to the graphs. Other than several 1957-1958 singles for Oakland’s Tempo logo, small was noticed from Small Willie Littlefield before past due ’70s, when he begun to support a return at various celebrations and on the Euro circuit. While abroad, he fulfilled a Dutch girl, wedded her, and resolved in holland, where he continued to be active musically in to the 2000s. He passed away of tumor in 2013.