Although he came to his greatest fame in the 1950s with his pioneering rock and roll recordings, particularly "Shake, Rattle and Roll", Turner's career as a performer stretched from the 1920s into the 1980s.
(for stride pianist Joseph H. Turner (3.11.07-21.7.90) > Joe Turner)
Known variously as The Boss of the Blues, and Big Joe Turner (due to his 6'2", 300+ lbs stature), Turner was born in Kansas City and first discovered his love of music through involvement in the church. Turner's father was killed in a train accident when Joe was only four years old. He began singing on street corners for money, leaving school at age fourteen to begin working in Kansas City's club scene, first as a cook, and later as a singing bartender. He eventually became known as The Singing Barman, and worked in such venues as The Kingfish Club and The Sunset, where he and his piano playing partner Pete Johnson became resident performers. The Sunset was managed by Piney Brown. It featured "separate but equal" facilities for white patrons. Turner wrote "Piney Brown Blues" in his honor and sang it throughout his entire career.
At that time Kansas City was a wide-open town run by "Boss" Tom Pendergast. Despite this, the clubs were subject to frequent raids by the police, but as Turner recounts, "The Boss man would have his bondsmen down at the police station before we got there. We'd walk in, sign our names and walk right out. Then we would cabaret until morning".
His partnership with boogie-woogie pianist Pete Johnson proved fruitful. Together they headed to New York in 1936, where they appeared on a bill with Benny Goodman, but as Turner recounts, "After our show with Goodman, we auditioned at several places, but New York wasn't ready for us yet, so we headed back to K.C.". Eventually they were spotted by the talent scout, John H. Hammond in 1938, who invited them back to New York to appear in one of his "From Spirituals to Swing" concerts at Carnegie Hall, which was instrumental in introducing jazz and blues to a wider American audience.
Due in part to their appearance at Carnegie Hall, Turner and Johnson scored a major hit with "Roll 'Em Pete". The track contained one of the earliest recorded examples of a back beat. It was a song which Turner recorded many times, with various combinations of musicians, over the ensuing years.
In 1939, along with boogie players Albert Ammons and Meade Lux Lewis, they began a residency at Café Society, a club in New York City, where they appeared on the same bill as Billie Holiday and Frank Newton's band. Besides "Roll 'Em, Pete", Turner's best-known recordings from this period are probably "Cherry Red", "I Want A Little Girl" and "Wee Baby Blues".
In 1941, he headed to Los Angeles where he performed in Duke Ellington's revue Jump for Joy in Hollywood. He appeared as a singing policeman in a sketch called "He's on the Beat." Los Angeles became his home base for a time, and in 1944 he worked in Meade Lux Lewis's Soundies musical films. Although he sang on the soundtrack recordings, he was not present for the filming, and his vocals were mouthed by comedian Dudley Dickerson for the camera. In 1945 Turner and Pete Johnson opened their own bar in Los Angeles, The Blue Moon Club.
Turner made lots of records, not only with Johnson but with the pianists Art Tatum and Sammy Price and with various small jazz ensembles. He recorded on several record labels, particularly National Records, and also appeared with the Count Basie Orchestra. In his career, Turner successively led the transition from big bands to jump blues to rhythm and blues, and finally to rock and roll. Turner was a master of traditional blues verses and at the legendary Kansas City jam sessions he could swap choruses with instrumental soloists for hours.
In 1951, while performing with the Count Basie Orchestra at Harlem's Apollo Theater as a replacement for Jimmy Rushing, he was spotted by Ahmet and Nesuhi Ertegün, who signed him to their new recording company, Atlantic Records. Turner recorded a number of hits for them, including the blues standards, "Chains of Love" and "Sweet Sixteen". Many of his vocals are punctuated with shouts to the band members, as in "Boogie Woogie Country Girl" ("That's a good rockin' band!", "Go ahead, man! Ow! That's just what I need!" ) and "Honey Hush" (he repeatedly sings "Hi-yo, Silver!", probably in reference to The Treniers singing the phrase in their Lone Ranger parody "Ride, Red, Ride"). Turner's records shot to the top of the rhythm-and-blues charts; although they were sometimes so earthy that some radio stations wouldn't play them, the songs received heavy play on jukeboxes and records.
Turner hit it big in 1954 with "Shake, Rattle and Roll", which not only enhanced his career, turning him into a teenage favorite, but also helped to transform popular music. The song is fairly raw, as Turner yells at his woman to "get outa that bed, wash yo' face an' hands" and comments that she's "wearin' those dresses, the sun comes shinin' through!" He sang the number on film in the 1955 theatrical feature Rhythm and Blues Revue.
Although the cover version of the song by Bill Haley and His Comets, with the risqué lyrics incompletely cleaned up, was a bigger hit, many listeners sought out Turner's version and were introduced thereby to the whole world of rhythm and blues. Elvis Presley showed he needed no such introduction. His version of "Shake, Rattle and Roll" combined Turner's lyrics with Haley's arrangement, but was not successful as a single.
In addition to the rock 'n' roll songs, he found time to cut the classic Boss of the Blues album.
After a number of hits in this vein, Turner left popular music behind and returned to his roots as a singer with small jazz combos, recording numerous albums in that style in the 1960s and 1970s. In 1966, Bill Haley helped revive Turner's career by lending him the Comets for a series of popular recordings in Mexico (apparently no one thought of getting the two to record a duet of "Shake, Rattle and Roll", as no such recording has yet surfaced). In 1977 he recorded a version of Guitar Slim's song, "The Things I Used to Do".
In the 1960s and 1970s he was reclaimed by jazz and blues, appearing at many festivals and recording for the impresario Norman Granz's Pablo label, once with his friendly rival, Jimmy Witherspoon. He also worked with the German boogie-woogie pianist Axel Zwingenberger.
It is a mark of his dominance as a singer that he won the Esquire magazine award for male vocalist in 1945, the Melody Maker award for best 'new' vocalist in 1956, and the British Jazz Journal award as top male singer in 1965. His career thus stretched from the bar rooms of Kansas City in the 1920s (at the age of twelve when he performed with a pencilled moustache and his father's hat), on to the European jazz music festivals of the 1980s.
In 1983, only two years before his death, Turner was inducted into the Blues Hall of Fame.
He died in Inglewood, California in November 1985, at the age of 74 of a heart attack, having suffered the earlier effects of arthritis, a stroke and diabetes. Big Joe Turner was posthumously inducted into the Rock and Roll Hall of Fame in 1987.
Tribute
The late, New York Times music critic Robert Palmer, said: "...his voice, pushing like a Count Basie solo, rich and grainy as a section of saxophones, which dominated the room with the sheer sumptuousness of its sound.
Most famous recordings
"Roll 'Em, Pete" - 1938; (available in many versions over the years. Used for the million-dollar first scene in Spike Lee's film, Malcolm X).
"Chains Of Love" - 1951 † (this was Turner's first million seller. The song was written by 'Nugetre' (words) - Ahmet Ertegün, Van Wallis (music), and the disc reached the million by 1954).
"Honey Hush" - 1953 †
"Shake, Rattle and Roll" - 1954
"Flip Flop And Fly" - 1955 † (has sold a million through the years. The song was written by Charles Calhoun and Turner, although credited to the latter's wife, Lou Willie Turner).
"Cherry Red" - 1956
"Corrine, Corrina" - 1956 † (the fourth million seller...with adaption by J. Mayo Williams, Mitchell Parish and Bo Chatmon in 1932. This disc was #41, and spent 10 weeks in the Billboard chart).
"Wee Baby Blues" - 1956; (a song Turner had been singing since his Kingfish Club days)
"Love Roller Coaster" 1956
"Midnight Special" - 1957
Tracks marked as † were million selling discs.
Select discography
Big Joe Rides Again (1956)
The Boss of the Blues (1956)
Bosses of the Blues, Vol. 1 (1969)
Texas Style (1971)
Flip, Flop & Fly (1972)
Life Ain't Easy (1974)
The Trumpet Kings Meet Joe Turner (1974)
The Chill is On
Big Joe Turner Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
So give 'em a big hand. Everybody is working to try to make it nicer
Anyway! As I leave you... a little bit of Sweet Sixteen for the guys
Just a taste - give me see for Sweet Sixteen...
When I first met you baby, baby you were just sweet sixteen
First met you baby, baby you was just sweet sixteen
Just left your home then baby, oh the sweetest thing I'd ever seen
But you wouldn't do nothing for me baby, you wouldn't do anything I asked you to
You wouldn't do nothing for me baby, oh you wouldn't do anything I asked you to
You know you ran away from your home baby, and now you want to run away from old me too
My brother's in Korea baby, my sister's down in New Orleans
Brother's in Korea baby, oh sister sister down in New Orleans
You know I'm having so much troubles people, baby I wonder what in the world is gonna happen to me
Oh yes sweet sixteen baby...sweet sixteen...oh yes
The sweetest thing baby, oh yes
The sweetest thing I ever seen
You know I'm having so much trouble people, baby I wonder what in the world's gonna happen to me
Sweet sixteen...sweet sixteen oh yes
You know I'm having so much trouble people
Baby I wonder
Yes I wonder
Baby I wonder
I wonder what in the world's gonna happen to me
The Chill Is On by Big Joe Turner is a song that talks about the troubles of life and love. It opens with an introduction by Turner, urging the audience to appreciate everyone who makes the world a better place. He then moves on to sing about a girl he met when she was sweet sixteen. Despite her innocent charm, she was not willing to do anything he asked of her. She had even run away from home, and was now considering leaving him too. The singer's brother is fighting in the Korean War, and his sister is in New Orleans. He is left to wonder what is going to happen to him, as he struggles with his love life and family issues.
The lyrics of The Chill Is On reflect the post-World War II era of the 1950s, a time when many soldiers returning home faced difficulties in reintegrating into their old lives. African Americans, in particular, faced discrimination and a lack of opportunities. Turner's song speaks to these issues. His deep, soulful voice and the bluesy music add to the melancholy feel of the song. The Chill Is On is a testament to Turner's skill at expressing the woes of the common man, something that made him popular with audiences of the time.
Line by Line Meaning
How about it? How about it? It takes a lot of people to make it possible
Let's take a moment to appreciate everyone that helped make this possible because it truly took a lot of people.
So give 'em a big hand. Everybody is working to try to make it nicer
Let's give a round of applause to everyone who is working together to make everything better and more enjoyable.
Anyway! As I leave you... a little bit of Sweet Sixteen for the guys
Well, as I depart, I'll leave you with a little bit of 'Sweet Sixteen' for the gentlemen to enjoy.
Just a taste - give me see for Sweet Sixteen...
I only have a small performance of 'Sweet Sixteen', but you'll get the idea with this little taste.
When I first met you baby, baby you were just sweet sixteen
When we first met, you were only sixteen years old and such a sweet and innocent person.
First met you baby, baby you was just sweet sixteen
The first time we encountered one another, you were a young woman of only sixteen years old.
Just left your home then baby, oh the sweetest thing I'd ever seen
When you had just recently moved out of your parents' home, you were the most beautiful person I had ever laid my eyes on.
But you wouldn't do nothing for me baby, you wouldn't do anything I asked you to
However, you were unwilling to do anything for me, no matter how much I requested or begged.
You wouldn't do nothing for me baby, oh you wouldn't do anything I asked you to
You didn't do anything for me, even when I specifically asked you to do something.
You know you ran away from your home baby, and now you want to run away from old me too
You ran away from your home and now you want to leave me too, just like you left your home.
My brother's in Korea baby, my sister's down in New Orleans
My brother is in Korea and my sister is in New Orleans.
Brother's in Korea baby, oh sister sister down in New Orleans
As I just mentioned, my brother is serving in the Korean War, and my sister is living in New Orleans.
You know I'm having so much troubles people, baby I wonder what in the world is gonna happen to me
As you can imagine, I'm going through a lot of problems right now and I have no idea what the future will hold.
Oh yes sweet sixteen baby...sweet sixteen...oh yes
Ah, yes... Sweet sixteen, the age when you were so young and beautiful, baby.
The sweetest thing baby, oh yes
There was something so innocent and sweet about you when you were only sixteen years old.
The sweetest thing I ever seen
You were truly the loveliest thing I had ever seen at the time when we first met.
Yes I wonder baby I wonder
I can't help but wonder what will happen to me next.
Baby I wonder
I have so many questions and uncertainties right now.
I wonder what in the world's gonna happen to me
I'm just not sure what my fate and future holds for me right now.
Lyrics © Warner/Chappell Music, Inc.
Written by: AHMET ERTEJUN
Lyrics Licensed & Provided by LyricFind
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