How fun and fulfilling to see Philip Paul (as well as Bootsy Collins and Otis Williams) included in the official photograph taken on the day when Jack White was awarded the key to the city on June 4, 2018 by Cincinnati mayor, John Cranley, while strategically positioned outside the original King Records headquarters in Evanston.
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Philip Paul & Friends @ King Records
Photo courtesy of Jack White
[L to R: Bootsy Collins; Otis Williams; Jack White; Mayor John Cranley; Anzora Adkins & Philip Paul]
Paul would recount for historian Steven C. Tracy in Going to Cincinnati: A History of the Blues in the Queen City (1993) the creative pressures of being a studio musician and the demands placed on the drummer by Syd Nathan to keep rhythms endlessly fresh:
Well, like I would get a call the same morning. You know, maybe 7 or 7:30 a.m. Can you get over here in a half hour? O.K. I’d get up and walk over there. And, uh, maybe the artist wouldn’t be there. But maybe whoever the A&R man was may have, would have a little riff or something in his head. He’d say, ‘It goes like this’ or something, you know? And we’d wait until the artist arrived, and the artist would sing. Maybe they couldn’t keep four bars together. But we’d work until we put something together. If it took all day … Yeah, with the little head sets. And they used all kinds of recording devices. But basically they never came, very seldom did they come in with charts for everybody and say play this, play this, play that. It was always – Syd Nathan wanted you to do something fresh all the time. I don’t care if you recorded three albums a day, he always wanted something different. He didn’t want the same beat on every tune. And you would have to sit there and come up with something. Because he would be in the booth hollering at you, you know. I look back on that and it was very insulting at the time, but it was a lesson also, because he provided musicians an opportunity to record under those conditions and see what recording was really about.
Getting the “right sound” at King would, for Paul, also involve the occasional use of kettle drums, wood blocks, and even a suitcase in place of a kick drum, points out Tracy.
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Paul initially intersected with King Records in 1952 through his professional relationship with Tiny Bradshaw — whose group had the house band gig at Cincinnati’s top black nightspot, The Cotton Club, according to Tracy. Six months earlier, Bradshaw had first taken notice of Paul’s playing at the Savoy Ballroom. The next nine years with Bradshaw would serve as a proving ground:
We knew we had to work hard. Like we would play an hour set; he didn’t restrict us. We was basically a blues band, but we had, at times we had some guys in the band that were very good jazz players. Sonny Stitt played with us. Johnny Griffin played with us. Al Sears played with us. We had all kinds of musicians out of Duke [Ellington]’s band playing with us. So when they came in the band, even if it was for one night or two nights, they really had to work. Noble Watts, Sil Austin – oh God, we wore out tenor players. But Red [Prysock] was the backbone; he could really handle it.
It was through Bradshaw, as Tracy writes, that “Paul got hooked up with King, and countless sessions followed.” According to Brian Powers, Paul has played on over 350 recordings and, like Calvin ‘Eagle Eye‘ Shields, backed a number of King’s country artists, such as Bonnie Lou, Cowboy Copas, and Hawkshaw Hawkins (also Grandpa Jones, say both Tracy and Nager), even though documentation is similarly and frustratingly scant.
Paul – whose father (from St. Croix) played trumpet and uncle drummed professionally – grew up in Harlem. While in New York, according to Steven Tracy, “Paul played with Milt Larkin, recorded for Decca with Buddy Johnson, and cut some sides with Basie sidemen accompanying Jimmy Rushing.” As Powers notes in A King Records Scrapbook:
His career took off when he began playing with jazz musicians Eddie ‘Lockjaw‘ Davis, Sonny Stitt, Bud Powell and Dizzy Gillespie. He got a regular gig at the famed Savoy Ballroom in Harlem with Buddy Johnson’s Big Band that featured the great vocalist Arthur Prysock. Eventually Paul met bandleader Tiny Bradshaw whose drummer, Calvin ‘Eagle Eye’ Shields, was leaving the band. Bradshaw was impressed with Paul’s playing.
Paul’s ability to be on call as a session musician at King was facilitated by means of a house in Evanston “which Syd Nathan had helped him purchase,” points out Powers. Even after Nathan’s passing in 1968, Paul continued to forge a musical career, as Powers explains, that enabled him to remain rooted in Cincinnati but with the flexibility to tour as needed:
By the late 1960s, Paul began several years of recording for Columbia Records in New York as one-third of Roy Meriwether‘s hard-driving gospel-influenced trio. [Stone Truth and Popcorn & Soul, both LPs from 1966]. He played for six years at the Carrousel Inn on Reading Road in [Cincinnati’s Roselawn neighborhood], but also toured with jazz artists like Herbie Mann, Jimmy Smith and Nat Adderley throughout most of the country. He played festivals and clubs, including the famous Apollo Theater in New York. Paul has accompanied George Wein & the Newport All-Stars throughout the United States and Canada.
Philip Paul –
The Roselawn connection
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Paul would eventually get “overdue” recognition for his contributions to music history, thanks to Larry Nager‘s profile “Keeping Time” in the October, 2009 edition of Cincinnati Magazine. Among Cincinnati’s household names and musical institutions, Nager notes unequivocally, “when it comes to impacting American music and culture, this quiet, unassuming octogenarian stands alone.” Furthermore, Nager cogently observes, “as America struggles to find something – anything! – we can sell to the world, the one unqualified success continues to be our music,” as Ebay prices in the new century for original vinyl make clear (see discography/listening section below).
In 2002, the Cincinnati Enquirer would bestow upon Paul a Lifetime “Cammy” (Cincinnati Area Music) Award as part of a select group, Legends of King Records. Cleveland’s Rock and Roll Hall of Fame & Museum, in 2009, would create a special exhibit, as part of its of Songwriters to Sound Men series, to celebrate the session work of Paul — who would also receive that same year an Ohio Heritage Fellowship, “the state’s highest honor for traditional artists,” notes Nager. Says the Ohio Arts Council: “The Ohio Heritage Fellowship program recognizes Ohio folk and traditional artists who are influential masters of their particular art forms and traditions, and whose work has had a significant impact on their communities.”
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Philip Paul Trio @ The Cincinnatian Hotel
[Photo courtesy of Bill Hulsizer]
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The 21st century would find Philip Paul issuing his first album, 2003’s It’s About Time, on which he served as bandleader — supporting musicians would include Peter Frampton, Edwyn Conley, Kenny Poole, Steve Schmidt, and Mike Sharf. The following year, Paul and Conley would comprise the rhythm section for Big Joe Duskin‘s final album, Big Joe Jumps Again!, joined by Frampton on two tracks, as well as producers, Larry Nager (bass) and William Lee Ellis (guitar). A 2016 Cincinnati Jazz Hall of Fame Inductee, Paul – who has been a weekly fixture at the Cincinnatian Hotel’s Cricket Lounge for countless years – would be feted in 2018 by Cincinnati’s Listernmann Brewing Company with a beer “Fas’ Foot Phil” named in his honor.
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[Photo courtesy of Bill Hulsizer]
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Special Update – April 8, 2020
Earliest Philip Paul Recordings
[Click on song titles below for streaming audio]
Big note of appreciation to Ben Levin, blues musician as well as scholar, who has been working behind the scenes to help deepen the understanding and appreciation of Cincinnati’s music history. Levin – who has performed with Philip Paul on a number of occasions, including WKRC’s Good Morning Cincinnati – helpfully suggested that I dig a little more deeply into Philip Paul’s earliest recordings for the Buddy Johnson Orchestra. Here are some of the things that turned up in the research.
First of all, thanks (once again) to the Europeans for their devotion to American music, as evidenced in the detailed musician credits for the Buddy Johnson compilation album, I’ll Dearly Love You, released in Sweden in 1989. Philip Paul is listed as drummer on the first three tracks = “Down Yonder”; “Li’l Dog” and “The Stars Fell on Alabama.” We know that Philip Paul recorded for Buddy Johnson prior to joining the Tiny Bradshaw Orchestra in 1951, but it is a challenge to validate exactly which other recordings he played on besides those three titles. This Philip Paul discography from Switzerland provides a couple more clues. Skim past the album listings and note that Paul is linked to two other recordings – “I’m Gonna Jump in the River” (with vocalist, Ella Johnson) and “Root Man Blues.” 45Cat says “Jump in the River” was released January 1952, while “Root Man Blues” was released the following month. Are these Paul’s final recordings with the Buddy Johnson Orchestra?
Once more, Europe helps us unearth our country’s own jazz history in this “Enciclopedia del Jazz” webpage tribute to Buddy Johnson that lists Philip Paul on a New York City recording session that produced “Jump in the River,” “Root Man Blues” and two other tracks – “Till My Baby Comes Back” (with Ella Johnson) and “My Aching Heart” (with vocalist, Arthur Prysock). Also, fascinating to find this related bit of history in Nelson Harris’s Roanoke Valley in the 1940s:
“Buddy Johnson and his orchestra played for a dance at the American Legion Auditorium on September 23 [1948]. Vocalists were Ella Johnson, Arthur Prysock, and the Four Buddies. Johnson was known for his hits ‘Baby Don’t You Cry,’ ‘Since I Feel For You,’ ‘Fine Brown Frame,’ and ‘Li’l Dog.’ White spectators were admitted [!].”
Also, from the Nov. 13, 1948 issue of Billboard:
“Betty Lou Purvis, WPGH, Pittsburgh, reports that Buddy Johnson’s Decca ‘Li’l Dog’ is pulling heavy mail and a phone response on her Strictly Jazz show.”
Similar report in Billboard’s Nov. 20, 1948 edition:
“Don Potwin, KYAK, Yakima, Wash., says: ‘Buddy Johnson’s Decca ‘Li’l Dog’ receives the most comment from my listeners. People ask me to incorporate it into my theme, which I did.”
Lastly, this Wikipedia page for Buddy Johnson lists all his single releases. As I scan the song titles from “Li’l Dog” all the way down to “Root Man Blues,” would love to know which of these recordings feature Philip Paul’s drum work –- especially want to know, for instance, if Mr. Paul played on the flip side of “Down Yonder,” “Did You See Jackie Robinson Hit That Ball.”
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A Philip Paul Jukebox!
King Recording Session Chronology: 1952-1964‡
[‡Source: The King Labels: A Discography, edited by Michel Ruppli & Bill Daniels]
<Click on song titles below to hear streaming audio>
Tiny Bradshaw & His Orchestra [Philip Paul (drums), Clarence Mack (bass), Jimmy Robinson (piano), Red Prysock & Rufus Gore (tenor sax), Ted ‘Snooky’ Hulbert (alto/baritone sax), Andrew Penn (trombone), and Leslie Ayres & Lester Bass (trumpet)]
Oct. 6, 1952 — Cincinnati
1956 ‘Soft‘ LP on King
$208 at auction in 2006
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Bull Moose Jackson (vocals) w/ Tiny Bradshaw’s Orchestra [Philip Paul (drums), Clarence Mack (bass), Jimmy Robinson (piano), Red Prysock & Rufus Gore (tenor sax), Ted ‘Snooky’ Hulbert (alto/baritone sax), Andrew Penn (trombone), and Leslie Ayres & Lester Bass (trumpet)]
Oct. 6, 1952 — Cincinnati
“I Needed You” + “Big Ten Inch Record“
Original “Big Ten-Inch Record” 78s & 45s –
Two and three figures at auction
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Tiny Bradshaw & His Orchestra [Philip Paul (drums), Clarence Mack (bass), Jimmy Robinson (piano), Red Prysock & Curtis Ross (tenor sax), Andrew Penn (trombone) & Lester Bass (trumpet)]
Jan. 19, 1953 — Cincinnati
“Off and On“; “Heavy Juice“; “Free For All“; “Hold On, Josie“
Co-written by Tiny Bradshaw & Henry Glover
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Tiny Bradshaw & His Orchestra [Philip Paul (drums), Sam Jones (bass), Jimmy Robinson (piano), Sil Austin & Rufus Gore (tenor sax), Andrew Penn (trombone) & Bill Hardman (trumpet)]
Jul. 29, 1953 — Cincinnati
“Powder Puff“; South of the Orient“; “Later“; “Ping Pong“
1954 ‘Tiny Bradshaw Plays‘ King EP
All co-written by Tiny Bradshaw & Henry Glover
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Tiny Bradshaw & His Orchestra [Philip Paul (drums), Sam Jones (bass), Jimmy Robinson (piano), Sil Austin & Rufus Gore (tenor sax), Andrew Penn (trombone) & Bill Hardman (trumpet)]
Apr. 5, 1954 — Cincinnati
“The Gypsy“; “Don’t Worry ’bout Me“; “Overflow“; “Spider Web“
Written by Henry Glover
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Wynonie Harris (vocals), with backing from Philip Paul (drums), James Royal (bass), Clarence Kenner (guitar), Fred Clark (alto sax), David Brooks (tenor sax) & Tommy Purkson (baritone sax)
Apr. 14, 1954 — Cincinnati
“I Get a Thrill“; “Keep a-Talkin’“; “Don’t Take My Whiskey“; “Shake That Thing“
King single does respectably at auction
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The Midnighters [Hank Ballard (lead) + Charles Sutton, Henry Booth & Sonny Woods (vocals), with backing from Philip Paul (drums), Clarence Mack (el bass), Arthur Porter (guitar), Eddie Smith (piano), Charles ‘Buddy’ Montgomery (vibes) & Sil Austin (tenor sax)]
Apr. 24, 1954 — Cincinnati
“Work Baby“; “Sexy Ways“; “Don’t Say Your Last Goodbye“
According to Billboard –
One of 1954’s top 10 R&B records (sales & jukebox)
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Tiny Bradshaw & His Orchestra [Philip Paul (drums), Sam Jones (bass), Clarence Kenner (guitar), Jimmy Robinson (piano), Rufus Gore & Noble Watts (tenor sax), Andrew Penn (trombone) & Bill Hardman (trumpet)]
Sep. 1, 1954 — Cincinnati
“Light” “Stack of Dollars“; Choice“; “Cat Fruit“
1955 King EP ‘Light & Choice‘ –
$100 at auction in 2014
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Tiny Bradshaw & His Orchestra [Philip Paul (drums), Sam Jones (bass), Jimmy Robinson (piano), Clifford Bush (guitar), Leon Burns & Lovejoy Coverson (tenor/baritone sax), Rufus Gore (tenor sax), Andrew Penn (trombone) & Bill Hardman (trumpet)]
Jan. 11, 1955 — Cincinnati
“Cat Nap“; “Come On“; “Stomping Room Only“; “Pompton Turnpike“
King “bio disc“
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Rufus Gore (tenor sax & vocals), with backing by Philip Paul (drums), Sam Jones (bass), Mickey Baker (guitar) & Duke Parham (piano)
Feb. 24, 1955 — New York City
“Firewater” + “Ghost Walk“
Gore’s Henry Glover-produced session in NYC –
Possibly the only one Paul recorded outside of Cincinnati
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The Admirals [unnamed vocalists and uncredited musicians – however, it is almost certain that the musicians listed directly above on the Rufus Gore session played on this session] Philip Paul (drums), Sam Jones (bass), Mickey Baker (guitar), Duke Parham (piano) & Rufus Gore (tenor sax)
[2nd day in NYC for Philip Paul]
Feb. 25, 1955 — New York City
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*“Close Your Eyes” & “Give Me Your Love“
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Bill Jennings Quintet [Bill Jennings (guitar), Philip Paul (drums), Jackie Wilson (piano), Paul Henry Sparks (guitar) & Albert Jennings (vibes)]
Jul. 24, 1955 — Cincinnati
“Willow Weep for Me“; “Day Train“; “Glide On“; “Three Little Words” + 2 unissued tracks
three and even four figures at auction
John Puckett Trio [John Puckett (piano & vocals), Philip Paul (drums) & Edwyn Conley (bass)]
Jun. 7, 1957 — Cincinnati
12 songs that comprise Meet John Puckett & His Piano
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Tiny Topsy & the Charms (vocals), with backing from Philip Paul (drums), Edwyn Conley (bass), John Faire & Arthur Porter (guitar), Ivory Joe Hunter (piano) & Ray Felder (tenor sax)
Oct. 2, 1957 — Cincinnati
“Come On Come On Come On” + “Ring Around My Finger“
Tiny Topsy “mit orchester”
Single enjoyed release in Germany & the UK
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Titus Turner (vocals), with backing from Philip Paul (drums), Edwyn Conley (bass), Clifford Bush (guitar), Jon Thomas (piano) & Ray Felder (tenor sax)
Nov. 7, 1957 — Cincinnati
“Stop the Pain” + “Hold Your Loving“
45 can fetch three figures at auction
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Earl Connelly King (vocals), with backing from Philip Paul (drums), Edwyn Conley (bass), Clifford Bush (guitar), Jon Thomas (piano) & Ray Felder (tenor sax)
Nov. 7, 1957 — Cincinnati
“Every Which Kinda Way” + “I Don’t Want Your Love“
Folks have paid up to $300 for this 45 co-written by Henry Glover
Reissued in the UK on Popcorn in 2012
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Tiny Bradshaw (vocals), with backing from Philip Paul (drums), Clarence Mack (bass), Clifford Bush (guitar), Jon Thomas (piano), Ray Felder (tenor sax) & Osborne Whitfield (flute)
Jan. 16, 1958 — Cincinnati
“Short Shorts” + “Bushes“
Written by Henry Glover
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Hank Ballard & the Midnighters (vocals), with backing from Philip Paul & George De Hart (drums), Navarro Hastings (el bass), John Faire (guitar), Jimmy Johnson (piano), JC Davis & Henry Moore (tenor sax) & Mark Patterson (trumpet)
Aug. 6, 1959 — Cincinnati
“Said I Wouldn’t Beg You“; “Look at Little Sister“; “I Could Love You“; “Never Knew“
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The Five Keys [According to Marv Goldberg’s R&B Notebooks, the group began singing sacred music as The Sentimental Four, which brought together two pairs of brothers – Rudy & Bernie West, plus Ripley & Raphael Ingram; by the time Gene Redd brought The Five Keys to King in 1959, the group’s roster appears to have shifted thusly: Bernie West, Ripley Ingram, Maryland Pierce, James “Dickie” Smith, and Thomas “Dickie” Threatt.] The Five Keys at that time were considered the standard bearer for harmony vocalists, Goldberg points out, and Ben Levin theorizes that Philip Paul played on all five Five Keys sessions based on the drumming styles captured on tape (e.g., “When Paw Was Courtin’ Maw”), as well as proximity to other King recording dates. No musician credits are listed for any of the Five Keys sessions.
Aug. 18, 19 & 20, 1959 — Cincinnati
$577 paid for this 1960 LP (after 26 bids) in 2004
“How Can I Forget You“; “I’ve Always Been a Dreamer“; “I Took Your Love For a Toy“; “Your Teeth and Your Tongue“; “Ziggus“; “Gonna Be Too Late“; “When Paw Was Courtin’ Maw“; “You Broke the Only Heart“; “Dream On“; “I Burned Your Letter“; “Dancing Senorita” & “Rosetta“
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Gene Redd & the Globe Trotters, featuring Gene Redd (“timbales, sweet wind”), Philip Paul (drums), Clarence Mack (bass) & John Faire + Freddie Jordan (guitar)
Sep. 4, 1959 — Cincinnati
“Zeen (Surfin’) Beat” + “Old Virginny Rock“
How To Cash In On a Trend:
Riding the Wave
1959 A-side “Zeen Beat”
“Repurposed” as “Surfin’ Beat” for 1962 King LP!
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Trini Lopez (vocals), with backing from musicians on “celeste, g, b, dm [presumably, Philip Paul]”
Sep. 25, 1959 — Cincinnati
“The Search Goes On“; “Nobody Loves Me“; “Then You Know (You’ve Been in Love)”; “Won’t You Be My Queen For a Day“; “Nobody Listens to Our Teenage Problems” & “Sweet Thing“
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Rudy West (vocals), with backing from Philip Paul (drums), Edwyn Conley (bass), John Faire (guitar), Jon Thomas (piano) & Gene Redd (vibes)
Sep. 29, 1959 — Cincinnati
“Just To Be With You“; “You Were Mine“; “The Measure of My Love“; “This Is Something Else“; “My Mother’s Prayers“; “As Long As I Live“
Rudy West —
Original lead tenor for The Five Keys
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Trini Lopez (vocals), with backing from Philip Paul (drums), Edwyn Conley (bass) & Freddie Jordan (guitar)
Oct. 1, 1959 — Cincinnati
“The Club for Broken Hearts“; “Don’t Go“; “Jeanie Marie“; “I’m Just a Poor Little Schemer“; “Chain of Love” & “It Seems“
Lopez’s 2nd album for King —
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Little Willie John (“& Strings“), with backing from Philip Paul (drums), Edwyn Conley (el bass), John Faire (guitar) & Sonny Thompson (piano)
Dec. 23, 1959 — Cincinnati
“A Cottage For Sale” + “Loving Care“
Both songs included on 1961 King LP
Ben Levin sleuths that this same session yielded two more songs – “I’m Shakin’” & “My Love Is” – albeit with a twist: Philip Paul played on the original Dec. 23, 1959 studio recordings that were released as 45 sides, while Edison Gore (drums) and Edwyn Conley (bass) later overdubbed a new rhythm section for the Sure Things LP. Ruppli’s notes, when scrutinized carefully, validate Levin’s ear.
By way of comparison —
“I’m Shakin‘” [King 45]
Philip Paul on drums
“I’m Shakin’“
[King Sure Things LP]
Edison Gore on drums
Using this same logic, that means the 45 release of “My Love Is” features Philip Paul’s drumming:
“My Love Is” [King 45]
Philip Paul on drums
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Lynn Hope (tenor sax), with backing from Philip Paul (drums), Clarence Mack (bass), Freddie Jordan (guitar), Jimmie Palmer (piano) & Gene Redd (trumpet & vibraphone)
Mar. 4, 1960 — Cincinnati
“Juicy“; “Tenderly“; “Full Moon“; “Shockin’“; “Ghost of a Chance“; “Body and Soul“
King 45
Also issued on UK’s famed ‘ska’ label
Note “corrected” spelling to King’s English!
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The Five Keys [SEE the explanatory note for the previous Five Keys session = Aug. 18-20, 1959] no musician credits in Ruppli’s session notes, although Ben Levin believes Philip Paul to be the drummer (while the vibraphone on “Stop Your Crying” is undoubtedly the work of Gene Redd)
Mar. 21, 1960 — Cincinnati
“Girl You Better Stop It“; “Stop Your Crying“; “Wrapped Up in a Dream“; “Will You” & “I’ll Never Stop Loving You“
The aural evidence points to Philip Paul
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The Five Keys [no musician credits other than the high likelihood of Philip Paul on drums]
Mar. 24, 1960 — Cincinnati
“Valley of Love“; “I Didn’t Know“; “I Can’t Escape From You“; “No Says My Heart“; “That’s What You’re Doing to Me“; “Bimbo” & “Do Something For Me“
Gusto anthology LP
1978
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Lynn Hope (tenor sax), with backing from Philip Paul (drums), Edwyn Conley (bass), Freddie Jordan (guitar), Jimmie Palmer (piano) & Gene Redd (trumpet & vibraphone)
Mar. 28, 1960 — Cincinnati
“Blue and Sentimental“; “The Very Thought of You“; “Rose Room“; “Sands of the Sahara“; “Little Landslide“; “Oo Wee“; “Stardust“
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Hank Ballard & the Midnighters (vocals), with backing from Philip Paul (drums), Navarro Hastings (el bass), Jimmy Johnson (piano) JC Davis (guitar), Henry Moore & Otis Finch (tenor sax), and Mark Patterson (trumpet)
Mar. 31, 1960 — Cincinnati
“I Must Be Crazy“; “These Young Girls“; “Finger Poppin’ Time“; “Thinking of You“
“Finger Poppin’ Time” enjoyed release in Australia
Also New Zealand
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Tab Smith (alto sax), with backing from Philip Paul (drums), Bill Willis (bass) Jon Thomas (piano & organ) & Ernest ‘Butch’ Luckett (guitar)
Apr. 28, 1960 — Cincinnati
“Drivin’ the Blues“; “In a Mellow Dream“; “Over and Under“; “They’re Off“; “Lovely Springtime“; “Easy Going“; and “Big Wheel“
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El Pauling & The Royalton (“vo, g with ?”)
Jun. 9, 1960 — Cincinnati
“Solid Rock“; “Now Baby Don’t Do It“; “Everybody Knows” & “I’m a Cool Teenager” [unissued]
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Ben Levin believes it is quite likely that Philip Paul backed the duet of El Pauling [i.e., Lowman Pauling of The ‘5’ Royales] and Royal Abbit [i.e., Royalton] on both of their King recording sessions. Note the precise snare work that helps underscore the stellar vocal performance on “Solid Rock.”
Spain – 45 Reissue (2011)
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Syl Johnson (“with tp, ts, p, g, el b, dm”)
c. Jun. 30, 1960 — Cincinnati
“I Need Love“; “His Gift“; “I’ve Got Love” & “Lonely Man“
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Ben Levin notes — “Philip is confirmed the following week on a session with Little Willie John. What really sold this session being Philip is the ballad ‘His Gift.’ Who else but Mr. Paul had that great brushwork!” (Unfortunately, “His Gift” is not yet available on YouTube streaming audio.)
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Little Willie John (vocals), with backing from Philip Paul (drums), Bill Willis (bass), Freddie Jordan (guitar) & Jimmy Palmer (piano)
Jul. 8, 1960 — Cincinnati
“The Very Thought of You“; “I’m Sorry“; “Walk Slow“; “Sleep“; “There’s a Difference“
Billboard chart history –
“Sleep” (#13)
“Walk Slow” (#48)
“Very Thought Of You” (#61)
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Hank Ballard & the Midnighters (vocals), with backing from Philip Paul (drums), Navarro Hastings (el bass), Jimmy Johnson (piano), Gene Redd & Mark Patterson (trumpet), and JC Davis & Henry Moore (tenor sax)
Jul. 26, 1960 — Cincinnati
“Let’s Go Let’s Go Let’s Go“; “Sick of You“; “Keep on Dancing“; “Goodbye So Long“
“Let’s Go Let’s Go Let’s Go“
East Bay Soul Brass
The Chambers Brothers
The Soul Believers
among those who have recorded a version
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Tab Smith (alto sax), with backing from Philip Paul (drums), Bill Willis (bass), Freddie Jordan (guitar) & Sonny Thompson (piano)
Aug. 5, 1960 — Cincinnati
“Chuggin’ Along” & “Night Hawk Prowl” [“The Midget” + “The Old Mill” (unissued)]
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Sonny Thompson [“prob. Osborne Whitfield (ts, fl) Sonny Thompson (p, org)”]
Aug. 9, 1960 — Cincinnati
“Duck Walk” & “Swinging Shepherd Blues“
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Ben Levin strongly suspects Philip Paul to be the drummer on these two songs, with “Duck Walk” sounding like a pre-ska Jamaica boogie instrumental.
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Gene Redd (“whistle with ts, org, el b, dm”)
Aug. 12, 1960 — Cincinnati
“New Annie Laurie” + “New Sidewalks of New York“
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Ben Levin asserts (and I concur) that the drumming on “New Annie Laurie” – even though it’s no longer available on YouTube streaming audio – sounds like a classic Philip Paul “popcorn” beat.
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Hank Ballard & the Midnighters, featuring Hank Ballard (vocals), Philip Paul & Joe Hardwick (drums), Navarro Hastings (el bass), Jimmy Johnson (piano), Gene Redd & Mark Patterson (trumpet), JC Davis & Henry Moore (tenor sax)
Aug. 16, 1960 — Cincinnati
“When I Need You“; “If You’d Forgive Me“; “The Hoochi Coochi Coo“
“The Hoochi Coochi Coo” –
Peaked at #23 on Jan. 30, 1961
11 weeks on chart
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Hank Ballard & the Midnighters, featuring Hank Ballard (vocals), Philip Paul & Joe Hardwick (drums), Navarro Hastings (el bass), Jimmy Johnson (piano), Gene Redd & Mark Patterson (trumpet), JC Davis & Henry Moore (tenor sax)
Aug. 17, 1960 — Cincinnati
“Mona Lisa“; “Just One More Chance“; “Summertime“
1961 Hank Ballard Spotlight LP –
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El Pauling & The Royalton (“vo, g with ?”)
Aug. 24, 1960 — Cincinnati
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Ben Levin would bet big money that Philip Paul provided the drum work on this second and final recording session for the dynamic duo, El Pauling and the Royalton (i.e., Lowman Pauling and Royal Abbit).
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Smokey Smothers (guitar & vocal), with backing from Philip Paul (drums), [Bill Willis on bass?], Freddy King & Freddie Jordan (guitar) & Sonny Thompson (piano)
Aug. 25, 1960 — Cincinnati
“Smokey’s Lovesick Blues“; “Crying Tears“; “Midnight and Day“; “Honey, I Ain’t Teasin’“; “Blind and Dumb Man Blues“; “What Am I Going To Do“; “I’ve Been Drinking Muddy Water“; “I Ain’t Gonna Be No Monkey Man No More“; “You’re Gonna Be Sorry“; “Can’t Judge Nobody“; “Give It Back“; “Come On Rock Little Girl“
Jon Hartley Fox writes in 2009’s King Records history, King of the Queen City —
Guitarist and singer Otis ‘Smokey’ Smothers [Howlin’ Wolf’s guitarist prior to signing with King] never came close to stardom, but for a period in the early 1960s, he had one of the most talked-about albums of the day. Smokey Smothers Sings the Backporch Blues, released in 1962, is highly coveted by collectors today as one of the rarest of blues albums. Forty-five years ago, it was an unexpected blast of down-home blues that took everybody by surprise.
Released (and retitled) in the UK (1966) & Germany (1967)
Auction alert!
$1223 paid in 2009 for original Smokey Smothers King LP
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Freddy King (guitar & vocals), with backing from Philip Paul (drums), Bill Willis (bass) & Sonny Thompson (piano)
Aug. 26, 1960 — Cincinnati
“You Know That You Love Me“; “See See Baby“; “You’ve Got To Love Her With Feeling“; “Have You Ever Loved a Woman“; “Hide Away“; “I Love the Woman“
“Attn: Disc Jocks,
This instrumental will be liked by The Teenagers!“
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Freddy King Sings
3 figures paid for 1961 King LP –
Reissued in Europe (2014) and Spain (2015)
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Clifford Scott (tenor sax), with backing from Philip Paul (drums), Bill Willis (bass), Hank Marr (organ), Charles Brown (piano) & Freddie Jordan (guitar)
Nov. 26, 1960 — Cincinnati
“Shu-ee“; “Fros-Tee Nite“; “Blue Lady“; “Broadway Caravan“
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Clifford Scott (tenor sax), with backing from Philip Paul (drums), Bill Willis (bass), Hank Marr (organ), Charles Brown (piano) & Freddie Jordan (guitar)
Dec. 6, 1960 — Cincinnati
“No. 1 in the Book“; “Chocolate Malt“; “Bushy Tail“
“Twistez avec l’extraordinaire”
1962 French EP on Odeon
*
Clifford Scott (tenor sax), with backing from Philip Paul (drums), Bill Willis (bass), Hank Marr (organ), Charles Brown (piano) & Freddie Jordan (guitar)
Dec. 9, 1960 — Cincinnati
“Hobby Horse“; “Cutie“; “Skitchy” & “Hang Out“
45- Jamaica
*
Hank Marr (organ), with unnamed musicians, including [in all likelihood] Philip Paul (drums) and Clifford Scott (tenor sax)
Dec. 10 1960 — Cincinnati
“Tonk Game” & “Hob Nobbin‘“
Note: 1963 King LP Hank Marr Trio + 3 — Teentime Latest Dance Steps kicks off with “Tonk Game.” That same year, “Tonk Game” would be released for its second time as a single — initially released January 1961. Furthermore, Ben Levin reports that the liner notes for 2016 compilation Night Sounds: The Genesis of Soul/Jazz Organ Combos identify Hank Marr to be – after Bill Doggett – King’s next big organist, who recorded several influential discs, “including ‘Tonk Game’ which became so popular with Britain’s Jamaican immigrant population that it received a British release on the Blue Beat label.”
“Tonk Game“
1961 UK single on Blue Beat
*
El Pauling & Royal Abbit (vocals) with unknown musicians
Dec. 21, 1960 — Cincinnati
“Please Please Be Mine” + “Rain Drops Keep a Fallin’“
*
Ben Levin notes — “According to the Philip Paul article in Living Blues [May/June 2011 issue], Syd Nathan helped Paul buy the house near the studio around 1961 or 62. So wouldn’t it make sense that Syd would use Philip on as many sessions as possible around that time?” Levin hears Paul on these tracks, as does Zero to 180. El Pauling is an alter ego of Lowman Pauling of The ‘5’ Royales, while Royal Abbit also goes by The Royalton.
*
Freddy King (guitar & vocals), with backing from Philip Paul (drums), Bill Willis (el bass) & Sonny Thompson (piano)
Jan. 17, 1961 — Cincinnati
“Lonesome Whistle Blues” [see 2014 piece] + “If You Believe (In What You Do)“
*
Freddy King (guitar & vocals), with backing from Philip Paul (drums), Bill Willis (el bass), Sonny Thompson (piano), and Osborne Whitfield & H. Johnson (tenor sax)
Jan. 18, 1961 — Cincinnati
“It’s Too Bad (Things Are Going So Tough)” + “I’m Tore Down” [see 2014 piece]
*
Hank Marr (organ), with backing from Freddy King (guitar), Philip Paul (drums), Lawrence Frazier (el bass), Michael Robinson (piano) & Osborne Whitfield (tenor sax)
Jan. 18, 1961 — Cincinnati
“Ram-Bunk-Shush” + “The Push“
“The Push” also included on 1963 Hank Marr Trio +3 LP.
*
Lulu Reed (vocals), with backing from Philip Paul (drums), Bill Willis (bass), Freddie Jordan & Lawrence Frazier (guitar), Sonny Thompson (piano) & Osborne Whitfield (tenor sax)
Jan. 19, 1961 — Cincinnati
“Know What You’re Doing“; “What Makes You Feel So Cold“; “I Got a Notion” & “Ain’t No Cotton Pickin’ Chicken“
Billboard‘s April 24, 1961 review of “I Got a Notion”:
“Fervid reading by the canary on an emotion-packed blues rockaballad.”
*
Lula Reed (vocals), with backing from Philip Paul (drums), Bill Willis (bass), Freddie Jordan & Lawrence Frazier (guitar), Sonny Thompson (piano) & Osborne Whitfield (tenor sax)
Mar. 19, 1961 — Cincinnati
“Puddentane” + *“Baby Baby“
[*unissued until Ace UK’s Just a Little Bit: Federal’s Queens of New Breed R&B (2010), although that song would be “Lula‘s” second 45 release for her next label, Tangerine, owned by Ray Charles, an “early admirer“]
*
Lula Reed (vocals), with backing from Philip Paul (drums), Bill Willis (bass), Freddie Jordan & Lawrence Frazier (guitar), Sonny Thompson (piano) & Osborne Whitfield (tenor sax)
Mar. 20, 1961 — Cincinnati
“I’m a Woman (But I Don’t Talk Too Much)”; “I Know“; “Say Hey Pretty Baby” + “You Gotta Have That Green“
“Slow-Rock & Twist”
1962 French EP on Odeon
*
Hank Marr (organ), with backing from Philip Paul (drums), Lawrence Frazier (el bass), Freddy King (guitar), Michael Robinson (piano) & Osborne Whitfield (tenor sax)
Mar. 22, 1961 — Cincinnati
“Mexican Vodka” & “Travelin’ Heavy“
Billboard‘s April 3, 1961 review of “Mexican Vodka”:
“Here’s an invigorating, insinuating side with a touch of the below-the-border flavor. It rocks via the horn work and the organ is punching too.”
*
Freddy King (guitar), with backing from Philip Paul (drums), Bill Willis (el bass), Freddie Jordan (guitar), & Sonny Thompson (piano)
Apr. 5, 1961 — Cincinnati
“Sidetracked“; “Stumble“; “San-Ho-Zay“; “Wash Out“; “Just Pickin’“; “Heads Up“
Let’s Hide Away And Dance Away With Freddy King
$255 paid in 2008 for this 1961 King LP
*
Little Willie John (vocals), with backing from unnamed musicians on piano, guitar, electric bass, and drums (plus strings on two tracks, choir on one)
Apr. 12, 1961 — Cincinnati
“The Masquerade Is Over“; “Spring Fever“; Every Beat of My Heart“; “Like Boy, Like Girl” [unreleased]; “Take My Love (I Want to Give It All to You)”; “Rock Love” & “Now You Know“
*
Ben Levin makes this assertion with regard to “Take My Love“: “This is a week after a session Philip had with Freddy King. There is no doubt in my mind this shuffle is Philip.”
*
El Pauling & Royal Abbit (vo) “with orchestra”
c. Spring 1961 — Cincinnati
“Here It Is, Right Here“; “Send Me Somebody“; “Jail Bird” & “Come On, Let’s Have a Good Time“
*
Ben Levin suspects Philip Paul played at Lowman Pauling and Royalton’s other recording session that yielded two Federal 45s.
*
Hank Ballard & the Midnighters (vocals), with backing from Philip Paul (drums), Navarro Hastings (el bass), Freddie Jordan & Dave Hamilton (guitar), Henry Moore (tenor sax) & Gene Redd & Mark Peterson (trumpet)
Jul. 18, 1961 — Cincinnati
“Big Red Sunset“; “Nothing But Good“; “Do You Remember” & “Can’t You See I Need a Friend“
*
Freddy King
Jul. 24, 1961 — Cincinnati
“Christmas Tears“; “Let Me Be“; “Takin’ Care of Business“; “You Mean Mean Woman“; “I Hear Jingle Bells“; “In the Open“; “Out Front“; “Swooshy“
“Christmas Tears” & “Jingle Bells” –
Strictly 45 tracks
Reissued in 1975
*
Jimmy Peterson (vocals) “with orchestra”
c. Summer 1961 — Cincinnati
“One Buffalo (You Mean a Nickel)”; “Anything You Ask“; “Goodnight, My Dear, My Darling” & “Nothing Goes Right For Me“
*
Ben Levin believes the drumming on this vocalist’s only session for King to be the work of Philip Paul.
*
The Superiors (vocals) with unnamed musicians, including baritone guitar
c. late Summer 1961 — Cincinnati?
“I’m Sorry Baby” & “Dance of Love“
[plus 2 unissued tracks “Beware, Beware” & “You Should Have Been There“]
*
Ben Levin notes — “Cincinnati is not even listed on this date, but Sonny Thompson is listed as a co-writer on both tunes, and he is definitely on piano. The drums sound like Philip to me and I think it’s safe to assume the group used the King backing band for this session
*
Bobby King (vocals) with unspecified “orchestra”
Nov. 21, 1961 — Cincinnati
“Thanks Mr. Postman” + “I Want You to Rock Me“
*
Ben Levin would bet big money that Philip Paul is the unnamed drummer on this recording session. “Postman” appears to have sat in the can until late summer 1962 when the vocalist recorded its B-side, “Two Telephones.” Decades later, this debut 45 by Bobby King would reliably command three figures at auction, with one original copy selling for $522 in 2009.
*
Eddie Clearwater (vocals), with backing from Philip Paul (drums), Lawrence Frazier (el bass), Freddy King (guitar), Hank Marr (organ) Michael Robinson (piano) & Osborne Whitfield (tenor sax)
Nov. 22, 1961 — Cincinnati
“A Real Good Time“; “I Was Gone“; “Twist Like This” & “Hey Bernardine“
$261 in 2017 for this A-side
*
Hank Marr (organ), with backing from Philip Paul (drums), Lawrence Frazier (el bass), Freddy King (guitar) Michael Robinson (piano) & Osborne Whitfield (tenor sax)
Nov. 22, 1961 — Cincinnati
“The Twist Serenade” + “Your Magic Touch“
*
The Escos (Lonnie Carter, Donald Peak, Richard Parker, Joe Penn & Roland Bradley on vocals) plus unnamed musicians
Nov. 22, 1961 — Cincinnati
“Thank You Mr. Ballard (For Creating the Twist)” & “Yes, I Need Someone“
*
Ben Levin makes a compelling case: “This session yielded two songs, and it was cut the same day as an Eddie Clearwater session on which Philip is listed. I think it’s fair to say the Escos used the whole same band that is listed behind Eddie Clearwater, and the guitar on one song sounds like Eddie Clearwater.”
*
*
Philip Paul with Charles Brown & Amos Milburn:
Historical Sidebar
Philip Paul informed Zero to 180 directly – in private consultation over the phone – that he, in fact, provided the backbeat for all of Charles Brown & Amos Milburn‘s Cincinnati recording sessions for King in the years 1960-63 and beyond, for which we know the following song titles and little else.
*
Charles Brown‘s Cincinnati King Sessions:
1960-1963
~
Sep. 21, 1960
“Please Come Home for Christmas“
Dec. 13, 1960
“Baby Oh Baby” + “Angel Baby“
Jan. 22, 1961
[with Amos Milburn]
“I Wanna Go Back Home” + “My Little Baby“
Jun. 27, 1961
“This Fool Has Learned” + “Butterfly“
Jul. 3, 1961
“It’s Christmas All Year Round” + “It’s Christmas Time“
Aug. 7, 1961
“Let’s Make Every Day a Christmas Day“; “Christmas in Heaven“; “Christmas Blues“; “Bringing in a Brand New Year“; “Christmas Finds Me Lonely Wanting You” & “Christmas Comes But Once a Year“
Aug. 10, 1961
“Christmas Questions“; “My Most Miserable Christmas” & “Wrap Yourself in a Christmas Package“
c. Oct. 9, 1961
“Without a Friend” + “If You Play With Cats“
Jan. 26, 1963
“I’m Just a Drifter” + “I Don’t Want Your Rambling Letters“
Aug. 26, 1963
“If You Don’t Believe I’m Crying, Take a Look at My Eyes“; “Lucky Dreamer“; “I Wanna Be Close“; “Too Fine for Crying“; “Come Home” & “Blow Out All the Candles (Happy Birthday to You)”
*
*
Amos Milburn‘s Cincinnati King Sessions:
1960-1961
Sep. 21, 1960
“Christmas Comes But Once a Year“
Jan. 22, 1961
[with Charles Brown]
“I Wanna Go Back Home” + “My Little Baby“
Mar. 7, 1961
“My Sweet Baby’s Love” + “Heartaches That Make You Cry“
Jul. 5, 1961
“Movin’ Time” + “The Hammer“
*
*
Hank Ballard & the Midnighters (vocals), with backing from Philip Paul (drums), Navarro Hastings (el bass), Freddie Jordan & Dave Hamilton (guitar), Sonny Thompson (piano), Elmer Yates (tenor sax) & Gene Redd (trumpet & vibraphone)
Jan. 6, 1962 — Cincinnati
“It’s Twistin’ Time“; “Good Twistin’ Tonight“; “Get Ready“; “I Want to Thank You“; “Your Lovin’“; “She’s the One“; “Dream World“
1962 King LP does pretty well at auction
*
Freddy King, with backing from Philip Paul (drums), Bill Willis (el bass), Freddie Jordan (guitar), Sonny Thompson (piano), Gene Redd (trumpet) & Clifford Scott (alto & tenor saxes)
Jan. 10, 1962 — Cincinnati
“Closed Door“; “Texas Oil“; “She Put the Whammy On Me“; “On My Way to Atlanta“; “Overdrive (Untouchable Glide)”; “Driving Sideways“; “Sittin’ On the Boat Dock” & “Come On“
Ruppli’s notes indicate “High Rise” to be an alternate title for “Closed Door”
*
Lula Reed & Freddy King with Sonny Thompson & His Orchestra [musicians not listed by Ruppli – Philip Paul almost certainly the drummer on this session]
Feb. 1962 — Cincinnati
“Do the President Twist” [see 2013 piece]; “(Let Your Love) Watch Over Me“; “You Can’t Hide“; “Your Love Keeps a-Working on Me“; “What About Love” & “It’s Easy, Child“
“You Can’t Hide” –
Included on R&B Hip Shakers Vol. 4:
Bossa Nova & Grits
Cash Box‘s Mar. 17, 1962 review of “Do the President Twist”:
“Lulu Reed teams up with Freddy King for an extremely effective twist side. The twosome reads a good lyric over the fast-moving strains of the Sonny Thompson ork. Wax has plenty of pop market potential.”
*
Hank Marr (organ), with backing from unnamed musicians, including (quite possibly) Philip Paul on drums
c. Spring 1962 — Cincinnati
“The Watusi-Roll” + “Sweet Nancy“
Both issued as a Federal 45 and included on 1963’s Hank Marr Trio +3 LP.
*
The Ascots (vocal group) “with orchestra”
c. June 1962 — Cincinnati
“She Did“; “Hip Talk“; “(Darling I’ll See You) Tonight” & “I Don’t Care One Bit“
*
Ben Levin believes the drumming on this vocal group’s only session for King to be the work of Philip Paul. The four songs, curiously enough, would be released as one King 45 and one Bethlehem 45.
*
Sonny Thompson (piano), with unnamed musicians
Aug. 14, 1962 — Cincinnati
“Just A Little Bit of S-O-U-L” + “Loco Limbo“
*
Ben Levin strongly suspects that Philip Paul is the unnamed drummer on this recording session, two instrumentals released as a 45 on the Bethlehem label.
*
Hank Ballard & the Midnighters (vocals), with backing from Philip Paul (drums), David Walker (el bass), Freddie Jordan & Marion Wright (guitar), Sonny Thompson (piano), Vonzell Cooper (organ), Garnell Cooper (tenor sax), Gene Redd (trumpet) & Sal Samuels (tambourine)
Sep. 12, 1962 — Cincinnati
“Shaky Mae“; “Christmas Time for Everybody But Me“; “I Love and Care for You“
*
Hank Ballard & the Midnighters (vocals), with backing from Philip Paul (drums), David Walker (el bass), Freddie Jordan & Marion Wright (guitar), Sonny Thompson (piano), Vonzell Cooper (organ), Garnell Cooper (tenor sax), Gene Redd (trumpet) & Sal Samuels (tambourine)
Sep. 13, 1962 — Cincinnati
“Santa Claus Is Coming“; “Love Oh Love“; “Bring Me Your Love“
Bob Kames (organ), with backing from Philip Paul (drums), Bill Willis (bass) & Rollie Tipton (guitar)
Oct. 1-4, 1962 — Cincinnati
Songs that comprised two full-length King LP:
Bob Kames Goes Western and Bob Kames at the Organ
Engineered by Chuck Seitz & produced by Hal Neely
cover art by Dan Quest
*
Milt Buckner (organ), with backing from Philip Paul (drums), Bill Willis (bass), & Gene Redd (vibraphone)
Nov. 26, 1962 — Cincinnati
“Misty“; “Why Don’t You Do Right“; “I Left My Heart in SF“; “All Blues“; “Take Five“
*
Freddy King (guitar & vocals), with backing from Philip Paul (drums), Bill Willis (bass), Freddie Jordan (guitar), Sonny Thompson (piano), and Gene Redd & Clifford Scott (saxes)
[musician credits courtesy of 2002 compilation, The Very Best of Freddy King Vol Two]
Nov. 27-29, 1962 — Cincinnati
“Bossa Nova Blues“; “Bossa Nova Watusi Twist“; “Walk Down That Aisle (Honey Chile)” Someday After Awhile (You’ll Be Sorry)”; “You Walked In“; “You’re Barkin’ Up the Wrong Tree“; “Is My Baby Mad At Me“; “(The Welfare) Turns Its Back on You“; “It Hurts to Be in Love“; “Look Ma I’m Cryin’“; “(I’d Love to) Make Love to You” & “One Hundred Years“
Bossa Nova and Blues
1963 LP reissued in 2014 in US & Europe;
Reissued 2016 in Japan
*
The King Pins (The Kelly Brothers plus T.C. Lee, Offe Reese, and/or LeeRoy Gilbert on vocals) “with orchestra”
Nov. 30, 1962 — Cincinnati
“Don’t Wait, Pretty Baby“; “Believe In Me“; “I Won’t Have It“; “It Won’t Be This Way (Always)”; “With the Other Guy“; “How Long Will It Last” & “Wonderful One“
*
Ben Levin points out — “This is a day after Philip recorded a session with Freddy King and seven songs were cut. ‘It Won’t Be This Way Always’ has the same bossa nova sound as some of the Freddy King songs cut the day prior, and ‘How Long Will it Last’ has Philip’s iconic brush work.”
“How Long Will It Last“
Released in Jamaica on JA’s own Federal label!
*
Hank Marr Trio +3 [Hank Marr (organ), Taylor Orr (drums) & Rusty Bryant (tenor sax)], with assistance from Philip Paul (drums), Bill Willis (bass) & Cal Collins (guitar)
Dec. 13, 1962 — Cincinnati
“All My Love Belongs to You“; “Bossa Nova Watusi Twist“; “Day By Day“; “Little Girl Don’t Cry“; “Midnight Moon“; “Let’s Cut One“; “Stand In Line“; “One Step Around“; “Marsanova” & “The Squash“
*
Note: Back cover liner notes for Latest Teentime Dance Steps (penned by Gene Redd) outline the album concept as “Hank Marr Trio +3” — i.e., the trio of musicians on the front cover augmented by “three of the finest musicians in the mid-west” [Philip Paul, Cal Collins & Bill Willis], thus adding a double drummer dimension to the group’s sound in order to get dancers on the floor:
“Hank Marr heads up a real rockin’ group, which includes Rusty Bryant on tenor sax and Taylor Orr on drums. However, to make these recordings stronger and even more danceable, three of the finest musicians in the mid-west – Bill Willis on bass, Cal Collins on guitar and Philip Paul on drums – were added to the group for the purposes of making this album. Two drummers were used to insure the best possible beat. The arrangements were especially prepared and scored by Hank Marr and Gene Redd and were designed to fit each dance step. [note the 13 different dance steps named on the front cover]“
*
Milt Buckner (organ), with backing from Philip Paul (drums), Bill Willis (bass), & Gene Redd (vibraphone)
Mar. 5, 1963 — Cincinnati
“Fever“; “Kansas City“; “Pick Yourself Up“; “Moon River“; “Fly Me to the Moon“
The New World of Milt Buckner
1963 Milt Buckner LP reissued in Japan in 2013
*
The Escos (Lonnie Carter, Donald Peak, Richard Parker, Joe Penn & Roland Bradley on vocals) “with chorus” plus unnamed musicians
Apr. 18, 1963 — Cincinnati
“Shame, Shame, Shame, Shame on You” & “That’s Life“
*
Ben Levin, who believes Philip Paul to have played on these two songs, implores — “Listen to the trademark beat Philip lays down behind ‘That’s Life’ – it’s a really nice ballad.”
*
James Robbins (vocals) backed by unnamed musicians
May 15, 1963 — Cincinnati
“I’ll Be There“; “(You Have to) Cry Sometimes“; “(Walk With Me) Each And Every Day“; “The Door Is Always Open For Me“; “I Declare, That’s Enough“; “He Made Them“; “One Day (You’re Gonna Need Me)” & “Someday From Somewhere“
*
Ben Levin, based on the trademark “popcorn” beat and stop/start rhythms on the two available streaming audio clips, strongly suspects Philip Paul to have been the drummer on this session.
The King Pins (The Kelly Brothers plus T.C. Lee, Offe Reese, and/or LeeRoy Gilbert on vocals) plus unnamed musicians
Jul. 28 & 29, 1963 — Cincinnati
“Two Hearts“; “The Hop Scotch“; “I Got the Monkey Off My Back” & “Just Keep On Smiling“
*
Ben Levin points to “Hop Scotch” – a ‘twistin” one that “sure sounds like Philip to me,” while Zero to 180 marvels at the crisp start and stop rhythms on the opening bars of “Two Hearts.”
*
The King Pins (The Kelly Brothers plus T.C. Lee, Offe Reese, and/or LeeRoy Gilbert on vocals) plus unnamed musicians
Aug. 7, 1963 — Cincinnati
“The Monkey One More Time” & “Now Baby Don’t Do It” [unissued]
*
Ben Levin believes Philip Paul to have been the drummer on this final King Pins session.
*
Freddy King (guitar & vocals), with backing from Philip Paul (drums), Oscar Crummie (el bass), Freddie Jordan (guitar), Sonny Thompson (piano) & Gene Redd (tenor sax)
Sep. 26, 1963 — Cincinnati
“Now I’ve Got a Woman“; “Surf Monkey“; “If You Have It“; “Low Tide (Zoo Surfin’)”; “Remington Ride“; “Monkey Donkey“; “Meet Me at the Station“; “Full Time Love“; “King a Ling“
*
Freddy King (guitar & vocals), with backing from bass [Benny Turner – Freddy King’s brother], guitar [Bobby King (Federal artist)], piano [Sonny Thompson?], organ [Hank Marr?], saxes [Gene Redd and/or Clifford Scott?] & quite possibly Philip Paul on drums
Aug. 26, 1964 — Cincinnati
“I Love You More Every Day“; “Teardrops on Your Letter“; “Some Other Day, Some Other Time“; “She’s the One“; “She’s That Kind“; “Man Hole“; “Fish Fare“; “Funny Bone“; Cloud Sailin’“; “The Sad Nite Owl“; “Nickel Plated” & “Freddy’s Midnite Dream“
Freddy King Gives You a Bonanza of Instrumentals
1965 LP reissued in 1984 (Germany), 1996 (Japan) & 2010 (US)
“If You Have It” —
From especially rare Freddy King album (King LP 931)
*
The Expressions (vocal group) backed by unnamed musicians
Aug. 28, 1964 — Cincinnati
“You Better Know It” & “Out Of My Life“
*
Ben Levin asks — “This session is listed two days after Philip’s last session with Freddy King, could this be his last session at King? There are two songs cut and both have to be Philip on drums.”
*
Carol Ford (vocals) with unnamed musicians
Aug. 28, 1964 — Cincinnati
“Run Baby” & “Your Well Ran Dry“
*
Ben Levin notes that it stands to reason that Philip Paul would be part of the same studio ensemble hired to back The Expressions, who also recorded at King Studios that same day. Levin adds that the drums on “Run Baby” in particular sound like the handiwork of Philip Paul.
*
A King History Moment:
Session Bassist Bill Willis
Bill Willis quoted in 2000’s Rollin’ and Tumblin’: The Postwar Blues Guitarists:
King Records had four of us who played on everything — me, Philip Paul on drums, Sonny Thompson on piano and Freddie Jordan on guitar. Everything was live so you had that spontaneous feeling going. None of us played together outside. The only time we played together was in the studio. A lot of times I didn’t hear what I was playing, like on “Hide Away,” because I went directly into the board. They turned my bass amp off, and I very rarely used headphones. I wanted to hear everybody through the room and catch all the nuances.
*
Philip Paul Postscript
Brian Powers tells Zero to 180:
“I am sure Paul played on some Cowboy Copas stuff — before Copas left King in 1955, but I couldn’t tell ya what. I’m pretty sure he played on Hawkshaw Hawkins’ album recorded in fall 1962 (with Gene Redd on vibes and Bill Willis on bass), which had a number one country hit with “Lonesome 7-7203.” I know this because Ray Pennington told me – he produced it and there are quite a few songs written by Ray.”
But, as Jon Harley Fox notes with a heavy heart (in King of the Queen City) –
After a long, dry spell with only one hit to his credit, Hawkins returned to King in 1962. He cut twelve songs in a September session, including the song that restarted his career, “Lonesome 7-7203,” a honky-tonk shuffle in the style of Ray Price. It would be Hawkins’s first number one hit single, but he wouldn’t live to see it happen. Just three days after the record entered the Billboard county chart, Hawkshaw Hawkins was killed in a plane crash with Patsy Cline and Cowboy Copas. Nothing else from Hawkins’s last session made the charts.
Philip Paul:
Keeping the Beat
PBS documentary short
2012
Philip Paul also profiled here:
- Herzog Music‘s Lost on the River 2018 podcast Episode 12: Philip Paul
- WVXU‘s Lee Hay‘s February, 2014 interview with Philip Paul
- Larry Nager‘s feature article on Philip Paul “Keeping Time” published in the October 2009 issue of Cincinnati Magazine
- Larry Nager’s full-length piece for the June 2011 issue of Living Blues entitled “Philip Paul: The King’s Beat“
*
A Philip Paul Jukebox:
9 Hours of Recorded Performances
*
Bonus Philip Paul Quotes
1994 & 1996 Interviews Conducted by David Bottoms
From Stacks of Wax: The Complete Story of the Record Labels of Cincinnati, Ohio
[Quote #1] King house drummer Philip Paul can expand our understanding of Syd Nathan’s relationship with his musicians. He remembers:He felt as if he had to have this hard-core persona, you know, to keep up on everything, because you’re bringing in musicians that travel all over the country — all over the world. They’ve got big egos, and he had to have them in line to get what he wanted put of them. He did a good job at it. When he confronted musicians that couldn’t do the job, he was very tough on them: I’ve seen some musicians get so angry [they’d] just walk out. But if you thought about what you were doing, and what you were contributing, you stayed there and you listened. You listened to him, and you listen to the A&R man. They were listening to you, and they knew exactly how you were projecting. Paul further notes the recording situation with regard to reimbursement and royalties: One downside I didn’t like about him…he had all these musicians, and sometimes you wouldn’t know who the sidemen were on the records. They wouldn’t put your name on it, but they had to have a recording log…you had to list the musicians in there. See, they got paid one-time money. If you worked today, you got paid today. They you got nothing else. You got scale, but it was for that day, that session: the musician got no royalties. Only the A&R men. Staffers had checks, like the musicians. The ‘big names’ got contracts…so many cents on a record…he’d pay you, he just wouldn’t put your name on there [the record]…if for nothing else, for historic recognition. You have to learn. It’s a business. We were young, we wanted to record, we didn’t release how good we were.[Quote #2] Drummer Philip Paul remembers the circuit well. As part of Tiny Bradshaw’s band, he shared the energy of those nights:
If you couldn’t cut it in those theaters, the people let you know right away. Those huge bills…are a thing of the past. We would leave Cincinnati and do all those theaters, and maybe have 50 one-nighters. From there [up north] back through the south, out to California, by car. We made it through all that from the crowd response. The crowd was always there, always. We’d play the Apollo in New York and the crowd would be just crazy.Paul notes that the road was an entirely different situation than the forces governing the studio setting:
On the road we had our own manager, booking agencies, and so forth. The manager got the money and paid us – we worked for x dollars a night, all expenses paid by the musician. [There’s] one aspect of the music business you don’t find today…you travel the country and play for different crowds…you get to test the waters with what you want to record. As a result, we never recorded anything unless we played it over and over again. That way we knew it was gonna be a hit. This is the thing they wanted. When we played these tunes they’d stand up and applaud, they’d dance to it.[Quote #3] The drummer position came open in the summer of 1952, and [Tiny Bradshaw] tried to pull Philip Paul away from his place with Buddy Johnson’s outfit and into his. Paul agreed to make the move and relocate to Cincinnati as a home base, and immediately found himself playing the Cotton Club, where he remembers:
[The band] would play the Cotton Club maybe two weeks out of a month. We’d have the band – a show – dancing girls, comedians, the whole bit, you know. Then we’d go out on the road, but we’d always come back to Cincinnati and play the Cotton Club. That was a great arrangement.At an October 6th, 1952 session in Cincinnati Paul contributed to another Bradshaw hit:
Nathan was the kind of guy – he wasn’t a musician. So he couldn’t tell you what he really wanted. But when he heard it, he’d say, ‘That’s it!’ He told me [for the session] ‘I want you to play brushes on this number.’ Can you imagine trying to push a band of six or seven musicians with brushes?!It worked though, and King 4577 – “Soft,” sweetened by fine sax from [Red] Prysock and Cincy’s Rufus Gore, hit big (#3 in early ’53), to the extent that Bradshaw was sometimes called “Mr. Soft” in the trades.
[Quote #4]
The pursuit of the shiny new bauble of stereo recordings meant another layer of complexity for those toiling away on Brewster. Of the time, Chuck Seitz remembers:
When stereo became the craze, we’d go into the vault to get the master [of a particular recording] and add rhythm guitar and bass, one on each side, the rest in the middle, and we got a stereo record.Philip Paul remembers it well:
They’d partition off that one studio, and…I’d do a lot of overdubbing. I’d wear headphones. They’d play a record, and I’d have to bring the drumbeat up to date…I’d modernize it. I did so many covers—and it’s hard to do—because you really have to listen to the beat and you can’t get ahead of the group. You have to play within that time concept, but you also have to bring it up to date. Modernize it, to a certain degree. They’d call me for a lot of those things, a lot of [acts].He continues:
At one time, when the Bossa Nova beat came out, Syd sat down and listened to all the things he had, and said, ‘We’re going to make this a Bossa Nova beat, or that…’ we changed it, took it out of one era and put it in another. He knew just what material to use. For not being a musician, he had a knack of knowing how to put things together!
Philip Paul Talks With Larry Nager:
Playing Drums on Country Sessions at King
Middle Tennessee State University — 2015
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Nice update on “The Pulse of King” cool platform without a doubt
Someone or several people have done some wonderful research. Great pics and stories.
Loved this article – is this information in book form
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