Curtis Ousley was adopted, with his sister, Josephine Ousley Allen. They were raised together in Fort Worth, Texas. Ousley attended I.M. Terrell High School, and studied and performed music with schoolmate Ornette Coleman.
Ousley started playing saxophone at the age of twelve in the Fort Worth area. He took interest in many musical genres including jazz, rhythm and blues, and popular music. As a student pursuing music, he turned down college scholarships in order to join the Lionel Hampton Band. During his time with Hampton, he was able to write and arrange music and learn guitar. In 1952 Curtis decided to move to New York and became a session musician, recording for such labels as Prestige, Enjoy, Capitol, and Atco. He recorded with Nat Adderley, Wynton Kelly, Buddy Holly, Waylon Jennings and Andy Williams.
Stylistically, Curtis took inspiration from saxophonists Lester Young, Louis Jordan, Illinois Jacquet, Earl Bostic, and Gene Ammons. Known for his syncopated and percussive style, he was both versatile and powerful as a musician. He put together a group during his time as a session musician that included Richard Tee, Cornell Dupree, Jerry Jemmott, and Bernard Purdie.
King Curtis enjoyed playing jazz and rhythm & blues but decided he would make more money as a rhythm & blues musician, stating in a 1971 interview with Charlie Gillet that "I love the authentic rhythm & blues more than anything, and I also like to live well." From the 1950s until the mid-1960s, he worked as a session player, recording under his own name and with others such as The Coasters, with whom he recorded "Yakety Yak". Buddy Holly hired him for session work, during which they recorded "Reminiscing". Holly wrote this song, but gave Curtis the songwriting credit for flying down to the session. His best-known singles from this period are "Soul Twist" and "Soul Serenade". He provided backing on a number of songs for LaVern Baker, including her 1958 hit single "I Cried a Tear", where his saxophone became "a second voice".
In 1965, he moved to Atlantic Records and recorded his most successful singles, "Memphis Soul Stew" and "Ode to Billie Joe" (1967). He worked with The Coasters, led Aretha Franklin's backing band The Kingpins. The Kingpins opened for The Beatles during their 1965 performance at Shea Stadium. Curtis produced records, often working with Jerry Wexler and recorded for Groove Records during this period, including the Joe South song "Games People Play" with guitarist Duane Allman.
In March 1971 he appeared with Aretha Franklin and The Kingpins at the Fillmore West, which resulted in two live albums: "Aretha Live at Fillmore West", and Curtis' own "Live at Fillmore West". In July 1971, Curtis recorded saxophone solos on "It's So Hard" and "I Don't Wanna Be a Soldier" from John Lennon's Imagine. Along with The Rimshots, he recorded the original theme song for the 1971 hit television show, Soul Train, titled "Hot Potatoes".
Curtis was killed on August 13, 1971 when he was stabbed during an argument with a pair of drug dealers he discovered on the steps outside his Manhattan apartment. Curtis was attempting to carry an air conditioner into his apartment when Juan Montanez refused to move from the entrance. A fight ensued and Montanez stabbed Curtis. Curtis later died at Roosevelt Hospital. In March 1972, Montanez was sentenced to seven years for second-degree manslaughter, but was released in late 1977 for good behavior.
On the day of Curtis' funeral Atlantic Records closed their offices. Jesse Jackson administered the service and as the mourners filed in, Curtis' band 'The Kingpins' played "Soul Serenade". Among those attending were Ousley's immediate family, including sister Josephine Ousley Allen, other family members, Aretha Franklin, Cissy Houston, Brook Benton and Duane Allman. Franklin sang the closing spiritual "Never Grow Old" and Stevie Wonder performed "Abraham, Martin and John and now King Curtis".
Curtis was subsequently buried in a red granite-fronted wall crypt in the 'West Gallery of Forsythia Court' mausoleum at Pinelawn Memorial Park in Farmingdale, New York, the same cemetery that holds jazz greats Count Basie and John Coltrane.
In 1970, a year before his death, Curtis won the Best R&B Instrumental Performance Grammy for "Games People Play".
Curtis was posthumously inducted into the Rock and Roll Hall of Fame on March 6, 2000.
Memphis Soul Stew
King Curtis Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
We sell so much of this, people wonder what we put in it
We gonna tell you right now
Give me about a half a teacup of bass
Now I need a pound of fatback drums
Now give me four tablespoons of boiling Memphis guitars
Now just a little pinch of organ
Now give me a half a pint of horn
Place on the burner and bring to a boil
That's it, that's it, that's it right there.
Now beat, well.
The song "Memphis Soul Stew" by King Curtis is a funky instrumental tune that has a clever metaphorical concoction between Memphis soul music and a recipe for stew. In the opening lines, the singer refers to Memphis Soul Stew as today's special and brags about selling so much of it that people wonder what is in it. Then they reveal that the recipe for Memphis Soul Stew has items such as a half a teacup of bass, a pound of fatback drums, four tablespoons of boiling Memphis guitars, a little pinch of organ, and a half a pint of horn.
The lyrics are a tribute to the sound of Memphis soul music, which was a fusion of gospel, blues, and R&B music that originated in the 1960s. The lyrics paint a picture of how the various instruments and their distinctive sounds come together to create this soulful stew that makes people groove. The singer seems to be conveying that the recipe for a great Memphis Soul Stew is not just about the ingredients but also about the right amount of each ingredient and the proper mixing technique.
Overall, "Memphis Soul Stew" is a fun and upbeat instrumental song that showcases the various musical elements that make up the sound of Memphis soul music. The lyrics are creative and add to the overall playfulness and enjoyment of the song.
Line by Line Meaning
Today's special is Memphis Soul Stew
We have created a unique dish of musical flavor that is being featured today.
We sell so much of this, people wonder what we put in it
Our creation is so popular that people are curious about the ingredients we use to make it.
We gonna tell you right now
We will reveal our recipe without hesitation.
Give me about a half a teacup of bass
We need a small amount of deep, low-pitched sounds to provide a solid foundation.
Now I need a pound of fatback drums
We require a significant amount of dynamic percussion to drive the rhythm forward.
Now give me four tablespoons of boiling Memphis guitars
We want to include lively, energetic guitar sounds that capture the essence of Memphis music.
This goin' taste alright
We are confident that this blend of elements will create a satisfying musical experience.
Now just a little pinch of organ
A small amount of keyboard instrument will enhance the overall sound and add texture.
Now give me a half a pint of horn
The brass section needs to be strong and prominent, but not overpowering in order to balance the other sounds.
Place on the burner and bring to a boil
We must combine these elements and bring them together in a cohesive way, through skilled performance and production.
That's it, that's it, that's it right there.
We have achieved the perfect balance of sounds and are pleased with the final result.
Now beat, well.
It is now time to play and perform the Memphis Soul Stew to share our creation with others.
Lyrics © Warner Chappell Music, Inc.
Written by: CURTIS OUSLEY
Lyrics Licensed & Provided by LyricFind
@flaviooliva1011
Who's still listening to it in 2023, is an elected soul !!!
@paulnash7630
I'm 76yrs now and proud to have been a 60's soul lover, Atlantic and Stax will live forever
@franckbossus6387
And the marmotte she put the chocolate...
@zonagale1144
Just turned 75, my (recently deceased) friend, and I used to tear the floor up with this. It's raising my spirits now!
@HarryHeath-pb6rv
The one and only master of the tenor saxophone king Curtis wow how he controls the higher registers is incredible
@marcybigfan2016
67. We had this 45. Melvin Seals covers it.
@toreckman8899
Blues and gospel and mix it altogether. Have mercy
@kimberlyharshfield8629
My cousin used to play this album, and I thought he was the coolest guy on the planet! That was back around 1971(?) Man, I sure do miss him😢
@christinakeller6610
My 11 year old just started saxophone and I played this for him. His mind was blown.
@paullepage9484
Good for him. I did the same for my grandson