I have followed the career of The Jive Aces for many years, been fortunate to see them in concert and had the opportunity to spend time with them backstage. They have always taken time to chat and made me feel welcome whenever we have met.
For more than three decades they have been the UK’s Number One Jive and Swing band with a worldwide following, touring all across the United Kingdom, throughout Europe and America.
The line-up consists of Ian Clarkson (lead vocals & ukulele), Alex Douglas (trombone, washboard & blues harp), John Fordham (tenor saxophone), Vince Hurley (piano), Ken Smith (double bass), Peter Howell (drums) and Grazia Bevilacqua (accordion).
I have been a guest at their Big Jive All Dayers held in Worthing, my hometown, where I have photograhed the event and my photos have appeared, along with my reviews, in various magazines including Vintage Rock and Vintage World.
I covered the 2024 event on this blog a few years ago and it can be read here Big Jive All Dayer. I also reviewed their last album, Keeping The Show On The Road. In this article I will be reviewing their latest album, Good Rockin' Tonight - The Roots Of The King.
Due for release on 31 July the album finds them celebrating the music that influenced and inspired Elvis Presley. It is not a 'covers' album but one filled with new and original interpretations of music from the 1940s and 1950s.
This article and review will look back at the history of each song along with a look at the Jive Aces performance of each track.
The album was recorded and mixed at Mad Hatter Studios in Los Angeles and mastered by Bernie Grundman, the highly regarded audio engineer whose work has included albums by Joni Mitchell, Steely Dan, Prince and many more.
The artwork was designed by the band with a cover photograph taken by Noelle Vaughn. As with their previous albums I love the retro feel to their album artwork and it captures perfectly the content of the album.
Noelle Vaughn, who also took the other photos featured in this article. is a vocalist who combines rock 'n' roll, rhythm & blues and the sultry torch style in a mix she describes on her website as 'Vintage with Voltage.' I was fortunate to meet and spend some time with her, including capturing some photos, during a recent Big Jive All Dayer event.
In the liner notes The Jive Aces recall how they were drawn to each other through a love of American roots music. As teenagers they had discovered blues, bluegrass, rockabilly and many other styles. It was through the door that had been smashed open by Elvis Presley in the 1950s that they all made this discovery.
The album opens with Mystery Train, a song written and recorded by Junior Parker and released, under the name Little Junior's Blue Flames, on the Sun Records Label in November 1953. One mystery is the fact that the title is not mentioned at all in the lyrics. The song was the b-side of Elvis Presley's fifth Sun Records single, released in August 1955, with I Forgot To Remember To Forget as the a-side. When re-issued by HMV in the United KIngdom Mystery Train became the a-side and a subsequent hit. With a great vocal from Ian Clarkson, harmonica playing from Alex Douglas and a saxophone solo from John Fordham this moves along like a steam train coming down the line and is the perfect opener to the album.
From 1972 until his final concert in June 1977 Elvis opened his live shows with See See Rider. Credited to Gertrude 'Ma' Rainey and Lena Arant it was Rainey who was the first to record the song in 1924. A popular 12-bar blues it is often known as C. C. Rider and See See Rider Blues. Once again John Fordham provides some great saxophone work along with another fine vocal from Clarkson with support from the rest of the band. It features an excellent bluesy ending.
Blue Moon Of Kentucky was a slow waltz written by bluegrass pioneer Bill Monroe, recorded with his band The Bluegrass Boys and issued as a single in 1947. In 2002 his version was one of 50 recordings chosen by The Library of Congress to be added to the National Recording Registry. When looking for a song to release as a b-side to their version of Arthur 'Big Boy' Crudup's That's All Right, Elvis, Scotty (Moore) and Bill (Black) turned to this classic giving it a rockabilly treatment. Opening with some ukulele this song gives all the members of the band the opportunity to shine musically with some great slap bass, washboard, drums, piano and brass. The song is taken at the same pace as Elvis' version and is one of the highlights on the album.
The Lloyd Price classic Lawdy Miss Clawdy had been a hit in 1952 and became one of the biggest selling R&B records of the year. Recorded in New Orleans it is notable for the inclusion of Fats Domino on piano who stood in for the original pianist, Salvador Doucette. Producer Dave Bartholomew was unhappy with Doucette's playing and on Domino's arrival at the studio persuaded him to sit in on the recording. A regular inclusion in Elvis' 1970s live operformances he originally recorded it back in February 1956 at the RCA Studios in New York and it appeared on his debut album Elvis Presley. A fine bluesy interpretation of this classic features another strong vocal from Clarkson with Vince Hurley providing some Jerry Lee Lewis style piano playing, John Fordham displays why he is one of the countries best saxophone players.
Hound Dog was written by songwriting partnership Jerry Leiber and Mike Stoller and will always be remembered for Elvis' 1956 recording and hit record. However, it was first recorded by Big Mama Thornton in 1952 and became her only hit record, selling more than 500,000 copies. Recorded by many artists it was vocal group Freddie Bell and The Bell Boys version that Elvis most likely based his version on. They had mnodified the lyrics and after seeing them in concert in Las Vegas he decided to record his own version. In concert he would often slow down the tempo and perform a bluesy, burlesque version which, at the time, following a TV performance caused uproar from adults, but not from his millions of fans. Starting off in a similar vein to Elvis' version it then turns into a slow, bluesy style reminiscent of Freddie Bell's version, and Elvis' TV performance, before ending with a fast tempo. Once again support from everybody is first class.
Doo-wop group The Platters recorded and had a hit with Only You in 1955. Written by the groups manager and producer Buck Ram it became a number one hit on the R&B Charts, spending seven weeks on the top spot. In 1999 their recording was inducted into the Grammy Hall of Fame. Although Elvis never recorded the song I am sure it was one he enjoyed and influenced much of his style. Ian Clarkson turns in a stunning reading of the song supported by great work from the whole band, especially the saxophone solo by John Fordham. I never thought this song could be performed better than The Platters original but this comes very close. Another standout track and one of my favourites on the album.
Corine, Corrina is only the second song on the album that wasn't recorded by Elvis, although there is no doubt he would have known the song. Another 12-bar blues first recorded back in 1928 by Bo Carter although it wasn't copyrighted until 1932 when composer credits were Carter (under his real name Armenter Chatmon) along with his publishers Miotchell Parish and J. Mayo Williams. Recorded in many styles including blues, country, jazz and western swing it has been recorded by many different artists. A jazzy/swing feel to this track makes it an enjoyable listen. A song that wouldn't have been out of place on many of the bands earlier albums.
That's All Right was the song that turned a nineteen year old truck driver from Memphis into an overnight sensation. Originally recorded by Arthur 'Big Boy' Crudup in 1946 it was less successful than some of his previous recordings. Elvis' version would become his first single, although the song wasn't planned for the session. During a break they fooled around with the song giving it an up-tempo rhythm. Producer Sam Phillips was impressed and asked them to do the song again while he hit the record button. He had been looking for a white artist who sounded black and on that July 1954 day he found it. Another great vocal but what I really like is the accompaniment... ukulele, washboard, harmonica, saxophone which drives the song along at a fast pace. Another highlight on an album full of highlights!
It's Now Or Never was a number one for Elvis in 1960 selling more than 20 million copies worldwide. It was based on the Italian song O Sole Mio and There's No Tomorrow recorded by Tony Martin in 1949. He loved Mario Lanza's version and asked for English lyrics to be written. Songwriters Aaron Schroeder and Wally Gold wrote the English lyrics in around 30 minutes. Grazia Bevilacqua opens the song with her excellent accordion skills before Ian joins in with the Italian lyrics of O Sole Mio before turning in a passionate vocal on the track. I enjoyed the way that half way through it changes tempo to swing. I like the way the two songs are combined and even though it is not my favourite song on the album it is still an enjoyable listen, especially Grazia's accordion work which I could listen to all day.
Written by Robert Blackwell and John Marascalo and recorded by Little Richard in 1956 Rip It Up became a number one hit on the Billboard Rhythm & Blues Chart and was a top twenty hit on the Hot 100. It was one of three songs recorded by Little Richard that Elvis covered in 1956. The other two songs were Long Tall Sally and Ready Teddy. Elvis stuck to the original on his recording which was the opening track on his second RCA album Elvis, released in 1956. They really rip it up on this version that features another strong vocal, hand clapping and more of Vince's impressive keyboard skills.
Gospel music was a major influence on Elvis and throughout his career he recorded many gospel songs and released three religious albums, His Hand In Mine, How Great Thou Art and He Touched Me. Although he never recorded a studio version of Up Above My Head he did include it as part of a gospel medley in his 1968 Comeback Special, along with Where Could I Go But To The Lord and Saved. It is not known who wrote the song which was originally recorded and released by the Southern Sons in 1941. However, it is the 1947 recording by Sister Rosetta Tharpe and Marie Knight that is best known and likely the version heard by Elvis. Listening to their version of this gospel standard makes me wish they would turn their hand to an album of hand-clapping gospel material. With vocal support from all the band and more Vince Hurley piano you can imagine a Sunday 'going to church meeting' with the crowd on their feet singing and clapping along.
Closing the album is Good Rockin' Tonight, the song that gives the album its title. A jump blues song written by Roy Brown and released by him as a single in 1947 it has been covered by many artists including Jerry Lee Lewis, The Doors and, of course, Elvis. Also recorded by Wynonie Harris in 1948, who at first turned the song down, it became Elvis' second single released on the Sun Records label in September 1954 backed with I Don't Care If The Sun Don't Shine. Elvis followed Harris' version but added extra drive to the song. The fourth song on the album from Elvis' time at Sun Records brings the album to a fitting close. Once again it features a trong vocal and instrumental support on this classic track.
Ian Clarkson spoke about the album, "We have always been huge fans of Elvis and his music. He was a pioneer who brought rock 'n' roll to the masses and influenced generations of musicians." He went on to say, "We wanted to pay tribute to him and his music roots by playing some of his songs and the songs that he loved. We hope that our audience will enjoy this album as much as we did recording it!"
I certainly did enjoy this new album which gives the listener the opportunity to drift back to the 1950s and the music that inspired Elvis Presley. I have no hesitation in recommending this excellent new release... there certainly is Good Rockin' Tonight!
Don't miss out, order your copy today. It can be purchased, along with their other releases and merchandise, from their on-line store - https://jiveaces.org/store
Thanks to Grazia Bevilacqua for providing a review copy of the CD for my collection.
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