Bill Doggett and
Wild Bill Davis popularized the organ in jazz and R&B during the 1950s, continuing a tradition begun by
Fats Waller in the 1920s and paving the way for
Jimmy Smith and
Brother Jack McDuff in the 1960s.
Doggett's career began in Philadelphia during the 1930s when he led a teenage band called
the Five Majors and developed his chops playing piano with bandleader
Jimmy Gorham.
Doggett was an essential component in
the Lucky Millinder Orchestra; he also wrote arrangements for and served as accompanist for
the Ink Spots,
Helen Humes, and
Ella Fitzgerald. After working for several years with
Louis Jordan,
Doggett followed in the footsteps of
Earl Bostic and began making records for the King label, now using a Hammond organ with rhythm accompaniment and saxophone. Classics 5175 focuses upon everything that
Doggett recorded during six days in May of 1954. Three titles cut on May 19th feature tenor man
Irving "Skinny" Brown -- the best of these is "Honey," an attractive melody by
Richard Whiting that dates back to 1929. While the producers of this compilation are to be commended for their diligence, a strict chronology of this particular week in
Doggett's life does not yield a whole lot of memorable music. Four titles featuring vocalist
Val Martinez, for example, will appeal mostly to those who crave the sounds of ostentatiously emotive, heart-on-sleeve mid-'50s crooning. The presence of
Slide Hampton alongside
Skinny Brown in the band is overshadowed by the rather overbearing, heartsick vocals.
Doggett is believed to have been struggling to achieve commercial success in the face of economic hardship during 1954, which might explain nine soporific organ ballads and six Christmas favorites, most of which seem to be suspended in heavy syrup. Three of these -- "Jingle Bells," "I Saw Mommy Kissing Santa Claus," and "Winter Wonderland" -- actually gather enough energy to rise up out of the aspic and swing a little. But this is a far cry from the sultry, cool majesty of the three opening tracks.