UNIVERSAL and ESQUIRE RECORDS
In June 1946 The Billboard reported that "A new record company, headed by Harry Browne and Dutch Niemann (1), will soon release its initial pressings under the Universal label. Firm also plans to distribute this label and others from its Oakland outlet, known as Globe Distributors. . . . . Already signed for recording with the new firm are Saunders King and Jack McVea." Globe Distributors operated from 3522 San Pablo Avenue, Oakland (which is known to have been the address of a record shop which was advertised for sale in November 1946) and The Billboard lists the same address for Universal. Nothing by Saunders King or McVea appeared on the label but they did put out three 78s in 1946 with four titles by vocalist Jean La Rue and Her Cats and two instrumentals by the Cats, veteran pianist Jesse 'Tiny' Crump, Edward Young on guitar, Charlie Oden on bass, and on drums Earl Jackson. The label design referred to both Hollywood and San Francisco but since Crump (2) is known to have been resident in the Bay Area at the time and Oden was a member of Ivory Joe Hunter's band it is reasonable to suppose that these recording were made locally. Jean La Rue is a complete unknown; one may justifiably suspect that that was not her real name. The Billboard August 31, 1946 reviewed 703 and 704 thus: "This San Francisco threesome (Tiny Crump, piano; Edward Young, guitar, and Charles Oden on bass) whips up more contagion than can be found in some groups many times its size. Boogie Joys, currently riding a popularity streak in the Bay City, heats up on a rolling riff pattern which tho a little dated makes for exciting listening. Crumpus Rumpus is cut from the same cloth, with lads putting plenty of spark into their instrument wielding. Flips are devoted to the blues shouting of Jean LaRue. In latter, Drummerman Ed Jackson replaces Young’s guitar," and concludes that "Songs may snag coins at race locations, with Boogie Joys spinning for happy returns in San Francisco area." 701 was reviewed equally favourably on September 14: "With a small jazz band providing the Harlemese beat, Jean La Rue shouts out the blues in a righteous manner. Top side builds on solid boogie beat, with piano, sax, guitar taking solo spots between La Rue’s convincing choruses. A fine tenor sax break by John Hinton adds to the down-to-earth chanting of “Sixteen Blues,” as the ork rides eight-to-the-bar groove in fine fashion." With their recording of “Boogie Joys” Universal had stolen a march on their established rival, Pacific Records, as was reported in The Billboard of August 31. Radio station KRE had played a recording of the tune by the Joe Schirmer Trio on a transcription record made only for radio stations. Many listeners liked the tune and headed for their local record shops to buy a copy which led the shop owners to contact KRE to see where they might obtain copies. Several of the station staff were involved in Pacific Records and, scenting a hit, they tried to locate the Joe Schirmer Trio in order to make a commercial recording of the tune. But Universal, hearing about the sudden demand for the tune, rushed Jesse Crump and his band into the studio and got the record out, garnering significant sales in the Bay Area.
(1) Real name Gordon Niemann.
(2) On Jesse Crump see The New Grove Dictionary of Jazz, 2nd edition
Esquire Records (3) was a subsidiary label of Universal, also based at 3522 San Pablo Ave when in January 1947 it advertised its first two releases, both by a band led by drummer Earl Watkins. Each side coupled an instrumental with a vocal, “They All Say I’m The Biggest Fool” by Vera Keyes on the first issue and “Homeward Bound” by Walter Mitchell (4) on the second.
The review of the two issues that appeared in The Billboard of January 25 1947 was not exactly flattering: "Another Coast label enters the wax sweepstakes with this double plattering. For the kick-off spin indie picks on an ex-G.I. group which, according to the needle, doesn't have much to show just yet. Brad Curtis' arrangement of torch ballad, Biggest Fool, over-emphasizes sustained chord progressions, creating a monotonous background for Vera Keys' lusty voiced but unconvincing vocal. Mop Mop, a frenzied riff-ridden instrumental taken at break-neck tempo, showcases a good trumpet, but faulty reproduction hides anything else that might be worthwhile here. Tonal blending of sax and muted trumpet makes for an interesting passage in Daydreams. Mixing here is at fault, over -emphasizing rhythm wing so that beat pounds above instrumental solo work. Built on a jump pattern that's retained thruout, group helps make Walt Mitchell's Homeward Bound blues chanting best of the four sides. May collect small change in race machines."
Apart from these two the only other issues on the label which I know of are three by Prof. J. Earle Hines, the Los Angeles based preacher and vocalist, originally recorded for the Sacred label and presumably leased by Esquire. Since only five issues are known with numbers ranging from 100 to 118 it would appear that there is more to be discovered. In their ad they list Melody Sales Co. of San Francisco as one of their distributors.
On Earl Watkins see Jim Goggin, Earl Watkins: The Life of a Jazz Drummer (2005).
I can find no certain biographical information on Vera Keyes/Keys. The earliest information on her musical career finds her at the Club Alabam in Los Angeles in May 1941, working with a trio consisting of Wilber Baranco on piano, Jerome Richardson on sax and Junior Raglin on bass. In June of the same year she was appearing in Newark CA as guest artist with Ben Watkins’ orchestra and in August Vera Marie Keyes, “A Singer You’ll Never Forget,” was working at the Zanzibar in Sacramento backed by Ernie Lewis on piano. January-February 1942 found her working in a “colored variety show” at the Colony Club in Petaluma while in May she was with Ernie Lewis’ band (“just recently joined”); by June 1942 she was at Jack’s Tavern in San Francisco, “fresh from the show Keep ‘em flying,” and in March to May 1943 she was back at the Club Alabam in a show called “Roman Scandals.” After that I have found nothing until late 1946 when she recorded for Esquire and November 1947 when she was at the Last Word in Los Angeles on a bill which included Little Miss Cornshucks, Emily Foster and Ginger Smock, all backed by Gene Phillips’ band. In June 1948 the Oakland Tribune reported that a marriage license had been issued for Curtis Lowe (saxophonist who had been in Ernie Lewis’ band when Vera worked with him in 1942 and went on to a distinguished career in music with Lionel Hampton and Earl Hines among others) and Vera Keys. I have found no evidence that the marriage took place but nothing is heard of Vera after this date.
Walter [Alfred] Mitchell, who both sang and played the guitar, was born in Texas on January 25, 1911. He was in San Francisco by 1940 and worked in various clubs until he was drafted in August 1942. He was discharged in February 1946 and, on the evidence of his Esquire recording, continued to work as a musician (though I have found no other evidence of this) until his death on April 6, 1958.
(3) According to the Billboard 1946-’47 Encyclopedia of Music it was intended to use Esquire “as a general category label.”
(4) I have assumed that the Walter Alfred Mitchell whose enlistment and burial records (he is described as a musician in the former) place him in the Bay Area is the artist who appeared in San Francisco clubs in 1940 to 1942. I should point out that the 1940 Census shows a 27 year old, Arkansas born, Walter Mitchell living in Los Angeles and working as a “Musician, Orchestra,” and that I have not located Walter Alfred in the 1940 census
