Proper presents a chronological survey of recordings made by
Tiny Bradshaw between September 19, 1934 and July 25, 1951 for the Decca, Regis, Manor, Savoy and King labels. The material reissued on this double disc traces a stylistic progression from swing to bop to R&B.
Tiny Bradshaw's early Decca recordings, made in New York during September and October 1934 are dominated by the leader's vocals. Remastered with reverb, these energetic stomps sound something like records of a similar vintage made by
Taft Jordan and
the Washboard Rhythm Kings. One thing about young
Bradshaw: he seems to have been almost entirely incapable of subtlety. On most of these early records he sings loud and fast, scatting himself breathless and carrying on, going off like a cap pistol over and over again; in live performance,
Bradshaw danced and cavorted like
Cab Calloway. The band contained trumpeter
Shad Collins as well as reedmen
Russell Procope and
Happy Caldwell.
Bradshaw hollers through "Ol' Man River" in a manner similar to
Bob Howard or
Putney Dandridge.
Bradshaw's 1944 band consisted of 14 decidedly modern-sounding players, including West Indian trumpeter
Talib Dawud, baritone saxophonist
Charlie Fowlkes (a veteran of
Lionel Hampton's band destined for years of service with
Count Basie), and legendary saxmen
Big Nick Nicholas and
Sonny Stitt.
Bradshaw's Manor and Savoy recordings, made between February 1945 and March 1947, document a transitional period during which he posed as a crooner, took one tentative step towards bebop with "V2" then dove headlong into re-bop and R&B, the stylistic turf where he would live out the rest of his career. His King sessions took place in Cincinnati and New York beginning on November 30, 1949. This is the material for which
Bradshaw is best known and remembered. "Well, Oh Well," recorded on February 8, 1950, is his masterpiece. After years of searching for the right groove, it was only during the last few years of his career that
Tiny Bradshaw found his natural element in the King label's patented formula of hand-clapping, foot-stomping R&B with backbeat drumming, boogie woogie piano, call-and-response band vocals, electrically amplified guitar and growling, squealing saxophones.