ALEXIS KORNER'S BLUES INCORPORATED. "R&B FROM THE MARQUEE" LP UK 1962. ORIG.

	£		110
	$		146

Alexis Korner’s Blues Incorporated* ‎– R & B From The Marquee Label: Ace Of Clubs ‎– ACL 1130, Ace Of Clubs ‎– ACL.1130 Format: Vinyl, LP, Album, Mono Country: UK Released: 1962 Genre: Blues Style: Country Blues, Harmonica Blues, Rhythm & Blues, Electric Blues R & B From The Marquee (Vinyl, LP, Album, Mono) for sale More Images
Tracklist Position Title/Credits Duration A1 Gotta Move Written-By – Korner* A2 Rain Is Such A Lonesome Sound Written-By – J. Witherspoon*, R. Witherspoon* A3 I Got My Brand On You Written-By – Morganfield* A4 Spooky But Nice Written-By – Davies* A5 Keep Your Hands Off Written-By – Davies* A6 I Wanna Put A Tiger In Your Tank Written-By – Morganfield* B1 I Got My Mojo Working Written-By – Foster* B2 Finkle’s Cafe Written-By – Korner* B3 Hoochie Coochie Written-By – Morganfield* B4 Down Town Written-By – Korner* B5 How Long, How Long, Blues Written-By – Carr* B6 I Thought I Heard That Train Whistle Blow Written-By – Baldry* Companies, etc. Copyright (c) – The Decca Record Company Limited Recorded At – The Marquee Printed By – Robert Stace Credits Double Bass – Spike Heatley Drums – Graham Burbidge Guitar – Alexis Korner Harmonica – Cyril Davies Piano – Keith Scott (5) Producer – Jack Good Recorded By – Jack Clegg Tenor Saxophone – Dick Heckstall-Smith Vocals – Cyril Davies (tracks: A3, A5 to B1, B3), Jim Baldry* (tracks: A2, B5, B6) Notes First pressing with flipback cover and Z/T tax code on labels


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Profile: Alexis Korner's Blues Incorporated formed 1961 in London, England and are undoubtedly the master UK root that helped form the family tree of today's British blues and rock music direction.
From the root-stew of a handful of seminal UK musicians in the mid 1950s, who were influenced by the blues and jazz movements trickling in from America, a new musical energy grew in the shape of British Blues. Jazz leader Chris Barber began promoting blues session intervals during his Marquee Club residency, with Alexis Korner and Ottilie Patterson. It was here that Korner (who had previously worked with Ken Colyer's Jazzmen) then formed a group, that included harmonica-player Cyril Davies, to expand upon these Marquee blues sessions in January 1962. This embryonic group then evolved into the formal Blues Incorporated, using on-stage amplification systems and becoming pioneers in the new 'electric blues' sound. It is difficult to grasp today how much of a stir this caused among traditional Folk-purists, plus the alienation of pub landlords to the level of sound the band produced.
The band initially had a regular slot at the Marquee. However, it wasn't long before Korner and Davies created their own residency for the band by taking over an old venue and forming "The Ealing Club", opposite Ealing Broadway rail station. Here "Blues Incorporated" would play and give 'open house' to the many fledgling musicians and blues groups that were emerging in the early 1960s. The band released two singles and four albums and tracks can also be found on a wealth of blues compilations. As Korner's desire increased for developing and experimenting with Blues Incorporated's fusions of jazz & blues, Davies decided to part company, forming his own and more 'purist' R&B group Cyril Davies And His Rhythm And Blues All Stars. However, the two remained friends until Davies' tragic death aged just 31.
The list of artists and groups which "Blues Incorporated" helped spawn would probably have you scrolling here 'till next Wednesday.


R&B from the Marquee Review by Bruce Eder  [-] Its title notwithstanding, R&B from the Marquee was not a live album, nor was it cut at the Marquee: it was actually done at Decca Records' London studio, albeit in one long day's work and effectively live-in-the-studio. It was also the place where British blues began, at least as a recording proposition. Blues played by Britons had been part of the underground music scene since the mid-'50s, and Blues Incorporated had been a going concern in one form or another, initially guitarist Alexis Korner and harpist/singer Cyril Davies (actually, maybe the first two Britons to play blues); but by this time, the group also included Dick Heckstall-Smith (tenor sax, backing vocals), Keith Scott (piano), Spike Heatley (upright bass), and Graham Burbridge (drums), with Long John Baldry handling some lead vocals. For this record, Big Jim Sullivan also sang backup, and Teddy Wadmore provides a key cameo appearance for the electric bass guitar (then a new and alien instrument in this music). The sound here is mostly out of late-'40s and early-'50s Chicago blues; in later years -- Blues Incorporated would embrace more diverse branches of the music in their performances -- and the outfit swings with a surprising degree of authenticity; they're somewhat stiffer than any actual Chicago outfit would be, but in England in 1962, this was as down-and-dirty as any homegrown outfit ever sounded. Korner's guitar leads things off with his own "Gotta Move," an instrumental that showcases the whole outfit, including a bracing duet between Davies' harmonica and Heckstall-Smith's sax: they give each give plenty of space to work around the other, here and also on Davies' own "Spooky But Nice," and it's easy to see why the two got along so well despite Davies' well-known antipathy to reed instruments and horns. Blues Incorporated was at its peak during the time this album was done, with its best and most powerful lineup, and never stronger in the vocal department -- Baldry has more flexibility, and is more a potential star (which he became) for his singing, while Davies is a pure, raw bluesman, with no concessions to pop music, and he sounds uncannily like Muddy Waters on "I Got My Brand on You." And this band swings, but it also rocks. "I Wanna Put a Tiger in Your Tank" is a forceful blues workout for its time, and when Wadmore's electric bass shows up on "Got My Mojo Working," you can hear the first recorded manifestation of what would become blues-rock in the hands of Blues Incorporated member/acolytes the Rolling Stones and the Pretty Things. Spike Heatley gets the spotlight briefly on the instrumental "Down Town," and lest anyone think that Alexis Korner is only a supporting player in his own band, nothing could be farther from the truth: his guitar, acoustic and mostly unamplified, helps drive everything here, and "Finkle's Café" and "Hoochie Coochie Man," among other tracks, give him the spotlight.