Ioannis Alexandres Veliotes
b. December 28th, 1921 in Vallejo (California)
d. January 17th, 2012 in Alta Dena (California)
THE CHRONOLOGICAL JOHNNY OTIS
Classics
September 1945 - 1947
August 1949 - January 1950
February - September 1950
January - March 1951
Animateur radio, organisateur de festivals, découvreur de talents, chef d'orchestre, producteur, multi-instrumentiste et même prêcheur, la carrière de Johnny Otis fut vraiment protéiforme. Fils d'immigrants grecs - Alexander Veliotes et Irene Kiskakes - Johnny grandit dans le ghetto noir de Berkeley où son père tient une épicerie. A 19 ans, il se marie avec Phillys Walker avec laquelle il aura quatre enfants (dont le futur guitariste Shuggie Otis). Dès la fin des années 30, Johnny joue de plusieurs instruments - batterie, vibraphone - et se produit dans la région de Oakland / Berkeley. Il s'installe à Los Angeles en 1943. Après avoir figuré dans de nombreux orchestres (Lloyd Hunter, Harlan Leonard, Wynonie Harris, Charles Brown), il monte sa propre formation en 1945 et grave ses premiers titres pour Excelsior. Tout d'abord, il a recruté le chanteur Jimmy Rushing (qui officiait chez Count Basie). Mais, on trouve aussi dans son orchestre : Bill Doggett, Paul Quinichette, Buddy Collette, Preston Love, Teddy Buckner, "Big" Jay Mac Neely. D'abord Jazz-Swing, le son évolue rapidement vers le Rhythm & Blues. Les premières faces sont remarquables : "Preston's love mansion", "Harlem nocturne" qui sera un immense succès, sa suite "Love's nocturne", "Omaha flash", "Midnight in the barrelhouse" (avec la guitare de Pete Lewis), "Barrelhouse stomp" (et le saxo de "Big" Jay Mac Neely), "Hog jaws", "Pay day blues". Johnny enregistre pour Modern quelques titres avec la chanteuse qu'il vient de découvrir, Little Esther Phillips ("Mean old gal"). En 1947, Johnny Otis et le chanteur Bardu Ali fondent le Barrelhouse Club dans le quartier Watts à Los Angeles. Puis, il entame une collaboration avec Savoy souvent sous la supervision du producteur Ralph Bass : "Boogie guitar" (avec la guitare de Pete Lewis), "Hangover blues" (avec la guitare de Gene Phillips en plus), "I'm living OK", "Double crossing blues", "Going to see my baby", "New Orleans shuffle". Pour Savoy, Johnny dépasse souvent le Rhythm & Blues et propose des airs de comédie, des ballades romantiques. Il joue de la batterie, du vibraphone et dirige l'orchestre. Le chant est assuré par Little Esther Phillips, Mel Walker ou Linda Hopkins. On peut encore mentionner les titres : "Cool and easy", "Mistrustin' eyes", "Cupid's boogie", "Lost dream blues", "Lonely blues", "Freight train boogie", l'amusant "Wedding boogie", "Turn the lights down low", "Doggin' blues", "Help me blues".
Radio host, festival organizer, talent scout, bandleader, producer, multi-instrumentalist and even preacher, Johnny Otis' career was really protean. Son of Greek immigrants - Alexander Veliotes and Irene Kiskakes - Johnny grew up in the Berkeley black ghetto where his father ran a grocery store. At 19, he married Phillys Walker with whom he would have four children (including the future guitarist Shuggie Otis). From the end of the 1930's, Johnny played several instruments - drums, vibraphone - and plays in the Oakland / Berkeley area. He moved to Los Angeles in 1943. After having appeared in many orchestras (Lloyd Hunter, Harlan Leonard, Wynonie Harris, Charles Brown), he started his own group in 1945 and recorded his first titles for Excelsior. First, he recruited singer Jimmy Rushing (who sang for Count Basie). But, we also find in his orchestra : Bill Doggett, Paul Quinichette, Buddy Collette, Preston Love, Teddy Buckner, "Big" Jay Mac Neely. First Jazz-Swing, the sound rapidly evolving towards Rhythm & Blues. The first sides are remarkable : "Preston's love mansion", "Harlem nocturne" which will be a huge success, his sequel "Love's nocturne", "Omaha flash", "Midnight in the barrelhouse" (with guitar from Pete Lewis), "Barrelhouse stomp" (and sax from "Big" Jay Mac Neely), "Hog jaws", "Pay day blues". Johnny records a few songs for Modern with the singer he has just discovered, Little Esther Phillips ("Mean old gal"). In 1947, Johnny Otis and singer Bardu Ali founded the Barrelhouse Club in the Watts neighborhood of Los Angeles. Then, he began a collaboration with Savoy often under the supervision of producer Ralph Bass : "Boogie guitar" (with the guitar of Pete Lewis), "Hangover blues" (with the guitar of Gene Phillips in addition), "I'm living OK", "Double crossing blues", "Going to see my baby", "New Orleans shuffle". For Savoy, Johnny often goes beyond Rhythm & Blues and delivers comedy tunes, romantic ballads. He plays the drums, the vibraphone and conducts the orchestra. Singing is assured by Little Esther Phillips, Mel Walker or Linda Hopkins. We can also mention the titles : "Cool and easy", "Mistrustin' eyes", "Cupid's boogie", "Lost dream blues", "Lonely blues", "Freight train boogie", the funny "Wedding boogie", "Turn the lights down low", "Doggin' blues", "Help me blues".
ROCK ME BABY
Rev-Ola
December 1951 - January 1955
Après une belle production chez Savoy, Johnny Otis passe chez Mercury avec un groupe quasiment inchangé (Don Johnson, Gerald Wilson, Ben Webster, Grover Washington, Pete Lewis) et continue sur la voie Jazz / Rhythm & Blues. Johnny chante peu laissant les parties vocales à Mel Walker ou Ada Wilson. Il propose notamment une superbe version de "One o'clock jump" mais aussi "Goomp blues" et "The candle's burnin' low". En septembre 1953, Johnny Otis arrive chez Peacock sous la supervision de Don Robey mais n'y restera pas longtemps ("I won't be your fool no more", l'instrumental "Sandy's boogie").
After a good production at Savoy, Johnny Otis moved to Mercury with an almost unchanged backing band (Don Johnson, Gerald Wilson, Ben Webster, Grover Washington, Pete Lewis) and continues on the Jazz / Rhythm & Blues way. Johnny sings little leaving the vocal parts to Mel Walker or Ada Wilson. He notably offers a superb version of "One o'clock jump" but also "Goomp blues" and "The candle's burnin' low". In september 1953, Johnny Otis arrived at Peacock under the supervision of Don Robey but did not stay there long ("I won't be your fool no more", the instrumental "Sandy's boogie").
VINTAGE 1950'S BROADCASTS FROM LOS ANGELES
Ace
1953 / 1958
Recueil de spectacles radiophoniques et télévisuels de Johnny Otis et de ses musiciens. Malgré une qualité sonore pas toujours satisfaisante, on retient des versions intéressantes de "Mama he treats your daughter mean", "Midnight at the barrelhouse", "I don't know", "Willie and the hand jive". Pour fans confirmés uniquement.
Collection of radio and television shows by Johnny Otis and his musicians. Despite a not always satisfactory sound quality, we retain interesting versions of "Mama he treats your daughter mean", "Midnight at the barrelhouse", "I don't know", "Willie and the hand jive". For confirmed fans only.
MIDNIGHT AT THE BARRELHOUSE
Ace
January 1955
THE LEGENDARY DIG MASTERS vol.3 : DAPPER CATS, GROOVY TUNES & HOT GUITARS
Ace
January 1955 / 1956
THE LEGENDARY DIG MASTERS vol.1 : CREEPIN' WITH THE CATS
Ace
December 1955 - 1956
Dans ce CD, on retrouve la production de Johnny Otis pour ses propres labels Ultra et Dig (il créera ultérieurement Eldo et Spin). Son orchestre de premier plan (Don Johnson, George Washington, Jackie Kelso, Devonia Williams, Jimmy Nolen) est au grand complet. Son Rhythm & Blues lorgne désormais vers le Rock & Roll : "Midnight creeper", "Driftin' blues", "Ali Baba's boogie", "Day face boy", "Organ grinder's swing", "Groove juice", "The Creeper returns".
In this CD, we find the production of Johnny Otis for his own labels Ultra and Dig (he will later create Eldo and Spin). His first-rate orchestra (Don Johnson, George Washington, Jackie Kelso, Devonia Williams, Jimmy Nolen) is in full force. Sound Rhythm & Blues is now eyeing Rock & Roll : "Midnight creeper", "Driftin' blues", "Ali Baba's boogie", "Day face boy", "Organ grinder's swing", "Groove juice", "The Creeper returns".
THE CAPITOL YEARS
Capitol
Collectables
August 1957 - November 1959
Entré chez Capitol grâce à son ami Nat "King" Cole, Johnny Otis est placé sous la supervision du producteur Tom Morgan. Il continue son mélange de Rhythm & Blues, de Rock & Roll et de Twist. Son orchestre compte dans ses rangs Marie Adams, Ernie Freeman, Don Johnson, George Washington, Jackie Kelso, Jimmy Nolen, Earl Palmer. Son fameux hit "Willie and the hand jive" fut un grand succès. Peu de titres Blues ou même Rhythm & Blues, on peut retenir tout de même "Until we meet again", "Cold turkey" ou l'instrumental dansant "Why don't you do right".
Joined Capitol thanks to his friend Nat "King" Cole, Johnny Otis is placed under the supervision of producer Tom Morgan. He continues his mix of Rhythm & Blues, Rock & Roll and Twist. His orchestra includes Marie Adams, Ernie Freeman, Don Johnson, George Washington, Jackie Kelso, Jimmy Nolen, Earl Palmer. His famous hit "Willie and the hand jive" was a great success. Few Blues or even Rhythm & Blues titles, we can still remember "Until we meet again", "Cold turkey" or the dancing instrumental "Why don't you do right".
LET'S LIVE IT UP
Charly
October 1961 - November 1962
Après avoir rencontré le succès chez Capitol et tenté de créer son propre label (Eldo), Johnny Otis enregistre pour King en 1961-62. Il sera même directeur artistique du label pendant quelques temps. Malheureusement, son succès commençait à s'amenuiser et ces faces passèrent inaperçues. La musique semble moins inspirée, moins percutante qu'à l'accoutumée malgré la participation occasionnelle du guitariste Johnny "Guitar" Watson. On peut retenir "Hand jive one more time" (une nouvelle version de "Willie and the hand jive") ou le puissant "Early in the morning blues".
After meeting success at Capitol and trying to create his own label (Eldo), Johnny Otis recorded for King in 1961-62. He will even be an A&R man for the label during some times. Unfortunately, his success was beginning to wane and these sides went unnoticed. The music seems less inspired, less punchy than usual despite the occasional participation of guitarist Johnny "Guitar" Watson. We can retain "Hand jive one more time" (a new version of "Willie and the hand jive") or the powerful "Early in the morning blues".
COLD SHOT
Kent
BYG
Sonet
1968
Etrange album avec cette pochette provocatrice restée célèbre et enregistré à trois (avec l'aide de quelques autres) : Johnny Otis endossant les rôles de producteur, pianiste, batteur et compositeur, son fils Shuggie tenant la guitare et la basse et les parties chantées sont assurées par Delmar "Mighty Mouth" Evans. Après plusieurs années d'absence, cet album symbolise le retour de Johnny Otis au premier plan pour le label Kent des frères Bihari. Dans ce programme court, on trouve de très bons moments comme "Sittin' here all alone", "The signifyin' monkey", "You better look out", "Cold shot". A noter la belle guitare de Shuggie Otis.
A strange album with this provocative cover that has remained famous and recorded at three (with the help of a few others) : Johnny Otis taking on the roles of producer, pianist, drummer and songwriter, his son Shuggie holding guitar and bass and the vocal parts are provided by Delmar "Mighty Mouth" Evans. After several years absent, this album symbolizes the return of Johnny Otis to the foreground for the Bihari brothers' Kent label. In this short program, we find great moments like "Sittin' here all alone", "The signifyin' monkey", "You better look out", "Cold shot". Note the beautiful guitar of Shuggie Otis.
SNATCH AND THE POONTANGS - FOR ADULTS ONLY
Kent
Flyright
1968
Ce disque fut probablement enregistré pendant les mêmes séances que "Cold shot". Comme le titre l'indique, le contenu et les textes sont ouvertement pornographiques. Johnny Otis et ses deux acolytes signent l'album sous différents pseudonymes. Belle guitare de Shuggie Otis et sympathique dessin humoristique de Johnny Otis à l'intérieur de la pochette.
This record was probably recorded during the "Cold shot" same sessions. As the title suggests, the content and texts are openly pornographic. Johnny Otis and his two acolytes sign the album under different pseudonyms. Beautiful guitar by Shuggie Otis and nice drawing by Johnny Otis inside the cover sleeve.
CUTTIN' UP
Epic
1969
Pour Epic, Johnny Otis propose un album bien plus maitrisé et consistant que son épisode Kent dans une veine entre Blues et Soul-Funk. Les parties chantées sont partagées entre Johnny, Delmar Evans, Margie Evans et "Sugarcane" Harris. On trouve d'excellents moments comme "Barrelhouse blues", "Evil gal blues", "I can't stand to see you die", "Elim stole my baby", "Double crossing blues". Beau dessin de couverture de l'illustrateur Jack Davis.
For Epic, Johnny Otis offers a much more controlled and consistent album than his Kent episode in a vein between Blues and Soul-Funk. The sung parts are shared between Johnny, Delmar Evans, Margie Evans and "Sugarcane" Harris. We find great moments like "Barrelhouse blues", "Evil gal blues", "I can't stand to see you die", "Elim stole my baby", "Double crossing blues". Beautiful cover design by illustrator Jack Davis.
BLUES AND SWING PARTY vol.1
J&T
1969
LIVE AT MONTEREY
Epic
September 1970
Cet album triomphal capté sur la scène du fameux Monterey Jazz Festival remporta un grand succès et permit à Johnny Otis et ses invités de revenir au premier plan. En effet, Johnny a construit un show dynamique avec de nombreuses gloires du Blues et du Rhythm & Blues californien : Little Esther, Eddie "Cleanhead" Vinson, "Big" Joe Turner, "Ivory" Joe Hunter, Roy Milton, Roy Brown, Margie Evans, "Pee Wee" Crayton. Intense et puissant, ce disque est une date importante, une sorte de consécration pour Johnny Otis et cette génération d'artistes. Il semble que la prise de son initiale n'était pas satisfaisante et que les bandes furent retravaillées en studio par la suite.
This triumphant album captured on the stage of the famous Monterey Jazz Festival was a great success and allowed Johnny Otis and his guests to come again to the foreground. Indeed, Johnny has built a dynamic show with many glories of californian Blues and Rhythm & Blues : Little Esther, Eddie "Cleanhead" Vinson, "Big" Joe Turner, "Ivory" Joe Hunter, Roy Milton, Roy Brown, Margie Evans, "Pee Wee" Crayton. Intense and powerful, this record is an important date, a sort of consecration for Johnny Otis and this generation of artists. It seems that the initial sound recording was not satisfactory and that the tapes were reworked in the studio afterwards.
LIVE 1970
Wolf
1970
Beaucoup moins abouti que le "Live at Monterey" : son et mixage moins bons, dynamisme et inspiration moindres. Le principal interêt de ce disque est l'apparition de Charles Brown (une belle version de "Driftin' blues"), Lowell Fulson et T-Bone Walker. A conseiller aux fans confirmés de Johnny Otis.
Much less successful than the "Live at Monterey" : less good sound and mix, less dynamism and inspiration. The main interest of this album is the appearance of Charles Brown (a nice version of "Driftin' blues"), Lowell Fulson and T-Bone Walker. Recommended for confirmed fans of Johnny Otis.
ANN ARBOR BLUES & JAZZ FESTIVAL '73
P-Vine
September 1973
GREAT RHYTHM & BLUES OLDIES vol.3, 8 & 13
Blues Spectrum
Bulldog
1973
Entre 1973 et 1977, Johnny Otis dirige le label Blues Spectrum qu'il a crée. Il enregistre environ 15 albums de vieilles gloires du Rhythm & Blues californien comme Charles Brown, Louis Jordan, "Pee Wee" Crayton, Amos Milburn, "Big" Joe Turner, Roy Milton, Joe Liggins, Eddie "Cleanhead" Vinson. Otis lui-même enregistre une quinzaine de titres avec son fils Shuggie Otis très présent à la guitare, Jackie Kelso, Delmar Evans, Jim Wynn, Gene "Mighty Flea" Conners. Le premier volume est de loin le plus intéressant, les deux autres n'étant en fait que des compilations déguisées avec 2 ou 3 titres inédits. De très beaux moments comme "Barrelhouse blues", "Please don't leave me", "Bad luck shadow", "Baby I've got news for you", "Lowdown dirty dog blues".
Between 1973 and 1977, Johnny Otis ran the Blues Spectrum label he created. He records about 15 albums of old californian Rhythm & Blues glories like Charles Brown, Louis Jordan, "Pee Wee" Crayton, Amos Milburn, "Big" Joe Turner, Roy Milton, Joe Liggins, Eddie "Cleanhead" Vinson. Otis himself records about fifteen tracks with his son Shuggie Otis very present on guitar, Jackie Kelso, Delmar Evans, Jim Wynn, Gene "Mighty Flea" Conners. The first volume is by far the most interesting, the two others are in fact only disguised compilations with 2 or 3 unissued titles. Very beautiful moments like "Barrelhouse blues", "Please don't leave me", "Bad luck shadow", "Baby I've got news for you", "Lowdown dirty dog blues".
BLUES COLLECTION
Gateway
Spotlite
1977
Quatre morceaux inédits gravés en 1977 dont l'excellent "Linda Lu".
Four unreleased tracks engraved in 1977 including the excellent "Linda Lu".
BACK TO JAZZ
Jazz World
1977
WATTS FUNKY
Beat Goes Public
1977 - 1978
THE NEW JOHNNY OTIS SHOW
Alligator
Sonet
April 1981
Co-produit par Johnny Otis et Bruce Iglauer, un album qui tente de faire revivre le Rhythm & Blues des années 50 avec un petit oeil vers la Soul et le Funk. Mais le programme manque de flamme et d'inspiration malgré de rares moments sympathiques.
Co-produced by Johnny Otis and Bruce Iglauer, an album that attempts to revive the Rhythm & Blues of the 50's with a little eye towards Soul and Funk. But the program lacks flame and inspiration despite rare pleasant moments.
THE 1984 JOHNNY OTIS SHOW
Hawk Sound
INTO THE EIGHTIES
Charly
1984
Nouveau programme du Johnny Otis Show pour son propre label, Hawk Sound, co-produit par Johnny et Phil Brown. Le contenu apparait très hétérogène et très inégal, souvent peu inspiré.
New Johnny Otis Show program for his own label, Hawk Sound, co-produced by Johnny and Phil Brown. The content appears very heterogeneous and very uneven, often little inspired.
OTISOLOGY
Kent
Magnum Music
HAND JIVE '85
St Clair
July 1985
Entre Rock & Roll puissant et Soul-Funk excitante, "Otisology" s'impose comme un album percutant qui tranche avec les précédents. "Let's go Johnny", "I'm ready for love", "I wanna come over" et l'instrumental "Nut pony" méritent vraiment l'écoute.
Between powerful Rock & Roll and exciting Soul-Funk, "Otisology" stands out as a punchy album that contrasts with the previous ones. "Let's go Johnny", "I'm ready for love", "I wanna come over" and the instrumental "Nut pony" are really worth listening to.
GOOD LOVIN' BLUES
Ace
J&T
1989
Encore une fois, le contenu semble très inégal mais on trouve de bons moments comme "Your last boogie" ou "Open home at my house". Un opus sympathique mais mineur.
Again, the content seems very uneven but there are good times like "Your last boogie" or "Open home at my house". A nice but minor opus.
SPIRIT OF THE BLACK TERRITORY BANDS
Arhoolie
1990
Retour au Jazz-Swing des années 40 que Johnny Otis se réapproprie ici avec un excellent big band et une production à la hauteur. Beaucoup de reprises dans la set-list mais généralement bien exécutées comme "Swinging the blues", "Flying home", "Jumpin' the blues".
Return to the Jazz-Swing of the 40's that Johnny Otis reclaims here with an excellent big band and a first-rate production. Lots of covers in the set-list but generally well performed like "Swinging the blues", "Flying home", "Jumpin' the blues".
R&B DANCE PARTY vol.1
J&T
1996 - 1997
GOT MY MOJO WORKIN'
J&T
1999
TRAIN THROUGH OAKLAND
J&T
1999
Un bon disque de Soul-Blues matiné de Rhythm & Blues où Carlos est accompagné de Johnny Otis et de son groupe. Bien produit, bien accompagné (le guitariste Brad Pie), un album peu original mais qui s'écoute néanmoins avec plaisir ("Wondering and waiting", "The hunt is on").
A good Soul-Blues record with some Rhythm & Blues where Carlos is accompanied by Johnny Otis and his backing band. Well produced, well accompanied (guitarist Brad Pie), an album that is not very original but which can nevertheless be listened to with pleasure ("Wondering and waiting", "The hunt is on").
OOH SHOOBIE DOO
J&T
2000
FOOD FOR LIFE
J&T
2002