J. JohnsonK-Ci & JoJoAl JolsonBooker T. JonesElvin JonesGeorge JonesHank JonesJack JonesMarti JonesQuincy JonesRickie Lee JonesTamiko JonesTom JonesLouis Jordan and His Tympany FiveThe JordanairesJurassic 5Bert KaempfertKitty Kallen & Georgie ShawThe Kalin TwinsBob KamesKansasBoris KarloffSammy KayeToby KeithGene KellyChaka KhanB.
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Hogan continued to record with Jordan and the Tympany Five until 1949.
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A Small Good Thing 1998 New West Records Bocephus King: Vocals, 6 & 12 string acoustic guitars, electric guitar, percussion, tympany.
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Ruminal tympany, also known as bloat, is a disease of ruminant animals, characterized by an excessive volume of gas in the rumen. Ruminal tympany may be primary, known as frothy bloat, or secondary, known as free-gas bloat. In the rumen, food eaten by the ruminant is fermented by microbes. This fermentation process continually produces gas, the majority of which is expelled from the rumen by eructation (burping).
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"Saturday Night Fish Fry" is a jump blues song written by Louis Jordan and Ellis Lawrence Walsh,BMI entry for song best known through the version recorded by Louis Jordan and His Tympany Five.
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Ruminal tympany occurs when this gas becomes trapped in the rumen. In frothy bloat (primary ruminal tympany), the gas produced by fermentation is trapped within the fermenting material in the rumen, causing a build up of foam which cannot be released by burping. In cattle, the disease may be triggered after an animal eats a large amount of easily fermenting plants, such as legumes, alfalfa, red clover, or white clover. Some legumes, such as sainfoin, birdsfoot trefoil and cicer milkvetch are not associated with causing bloat in cattle.
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In feedlot cattle, a diet containing a high proportion of cereal grain can lead to primary ruminal tympany. The main signs of bloat in cattle are distension of the left side of the abdomen, dyspnea (difficulty breathing) and severe distress. If gas continues to accumulate, the right side of the abdomen may also become distended, with death occurring in cattle within 3–4 hours after symptoms begin. In free-gas bloat (secondary ruminal tympany), gas builds up in the rumen and cannot escape, due to blockage of the esophagus.
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Roy Johnson (with Lionel Hampton), and Shifty Henry (with Louis Jordan and His Tympany Five), were other early Fender bass pioneers. Bill Black, who played with Elvis Presley, switched from upright bass to the Fender Precision Bass around 1957.
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"Let the Good Times Roll" is a jump blues song recorded in 1946 by Louis Jordan and his Tympany Five. A mid-tempo twelve-bar blues, the song became a blues standard and one of Jordan's best-known songs.
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Tympany Five was a successful and influential American rhythm and blues and jazz dance band founded by Louis Jordan in 1938. The group was composed of a horn section of three to five different pieces and also drums, double bass, guitar and piano. Louis Jordan and His Tympany Five created many of the most influential songs of the early R&B; and rock and roll era, including "Let The Good Times Roll", "Keep A-Knockin'", and "Caldonia". Carl Hogan's opening riff to "Ain't That Just Like A Woman" later became one of rock's most recognizable riffs in Chuck Berry's "Johnny B. Goode".
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"Caldonia" is a jump blues song, first recorded in 1945 by Louis Jordan and his Tympany Five. A version by Erskine Hawkins, also in 1945, was described by Billboard magazine as "rock and roll", the first time that phrase was used in print to describe any style of music.
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Wald, p. 198. Jump bands such as the Tympany Five, which came into being at the same time as the boogie-woogie revival, achieved maximum effect with an eight-to-the-bar boogie-woogie style.Dietsche, p. 9. Lionel Hampton recorded the stomping big-band blues song "Flying Home" in 1942.
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Erle E. Bartley (October 23, 1922 – February 10, 1983) was an Agricultural Science Professor at Kansas State University from 1949 until his death in 1983. He was known for his many agricultural inventions, especially those regarding ruminal tympany (ruminant bloat) problems. He invented the bloat preventative poloxalene, also known as "Bloat Guard".
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He performed along with The Flairs, Count Basie and his Orchestra, Lamp Lighters, Louis Jordan and His Tympany Five, Christine Kittrell, and Ruth Brown.“Tenth Annual Cavalcade Offering Finest Variety At Wrigley Field June 20” Article The California Eagle June 2, 1954.“Basie, Jordan, Prado Top Jazz Cavalcade” Article Los Angeles Sentinel June 3, 1954.
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Edwin Lawrence "Eddie" Johnson (December 11, 1920 - April 7, 2010) was an American jazz and blues tenor saxophonist. He was born in Napoleonville, Louisiana, United States. In 1946, Johnson joined trumpeter Cootie Williams and His Orchestra, appearing on several Capitol and Majestic recordings, until leaving to join Louis Jordan and His Tympany Five. He also played with Ella Fitzgerald and Duke Ellington.
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On two occasions, Moore stabbed Jordan after domestic disputes, almost killing him the second time. After their divorce she retained ownership of the songs. However, Jordan may have taken credit for some songs written by others—he is credited as the co-writer of "Saturday Night Fish Fry", but the Tympany Five pianist Bill Doggett claimed he wrote it.Visser, Joop.
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He learned to play the piano, guitar, and harmonica during this period. He became inspired to become an entertainer after hearing "Caldonia" by Louis Jordan and his Tympany Five. In his teen years, Brown briefly had a career as a boxer. At the age of 16, he was convicted of robbery and sent to a juvenile detention center in Toccoa.
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They played to a crowd of 15,000. Count Basie and his Orchestra played at the tenth Cavalcade of Jazz concert also at Wrigley Field on June 20, 1954. He played along with The Flairs, Christine Kittrell, Lamp Lighters, Louis Jordan and His Tympany Five, Ruth Brown, and Perez Prado and his Orchestra.“Basie, Jordan, Prado Top Jazz Cavalcade” Article Los Angeles Sentinel June 3, 1954.
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He appeared on many Jubilee radio shows and a series of programs for the Armed Forces Radio for distribution to American troops overseas. Jordan's career was uninterrupted by the draft except for a four-week Army camp tour. Because of a "hernia condition" he was classified "4F". Within a year of his breakthrough, the Tympany Five's appearance fee rose from $350 to $2,000 per night.
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Louis Jordan and the Tympany Five (then known as The Elks Rendezvous Band) recorded a clean version in 1938. In the first Fleischer Popeye cartoon, Popeye the Sailor (1933), "Barnacle Bill" was used as the recurring theme for the Bluto character. A later Fleischer Popeye cartoon, Beware of Barnacle Bill (1935), is a mock operetta based around a toned-down version of the song.
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After leaving the Larkin orchestra, Davis worked in Chicago as a pianist, recording with Buster Bennett in 1945. He played a crucial role as the pianist-arranger in Jordan's Tympany Five (1945–1947) at the peak of their success. After leaving Jordan, he returned to Chicago for a time, recording again with Buster Bennett and working with Claude McLin. After switching from piano to organ, Davis moved to the East Coast.
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The band found fame after opening for The Mills Brothers at the Capitol Lounge in Chicago in 1941. In 1941, they were transferred from Decca's "race" label to its Sepia Series, featuring artists thought to have the crossover potential to appeal to both black and white audiences. Jordan was always proud of the fact that the Tympany Five's music was just as popular with white as it was with black people.
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Bloat in a dog, with "double bubble" sign. A diagnosis of gastric dilatation-volvulus is made by several factors. The breed and history will often give a significant suspicion of gastric dilatation-volvulus, and the physical exam will often reveal the telltale sign of a distended abdomen with abdominal tympany. Shock is diagnosed by the presence of pale mucous membranes with poor capillary refill, increased heart rate, and poor pulse quality.
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He played in the first house band at Philadelphia's Club 421, a lineup led by Charlie Rice, and featuring Vance Wilson, Red Garland, and Johnny Hughes.Encyclopedia of Jazz Musicians Retrieved 29 April 2013. He went on to become a member of Louis Jordan's bands (both the Orchestra and his Tympany Five). In 1952, he married the band's vocalist, Elaine Dash Robinson, with whom he later formed a group.
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A cannula is used in an emergency procedure to relieve pressure and bloating in cattle and sheep with ruminal tympany, due most commonly to their accidentally grazing wilted legume or legume-dominant pastures, particularly alfalfa, ladino, and red and white clover.Diseases of the Ruminant Forestomach : Bloat, Merck Veterinary Manual Cannulas are a component used in the insertion of the Verichip. Much larger cannulas are used to research about the digestive system of cows.
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"Ain't Nobody Here but Us Chickens" is a jump blues song, written by Alex Kramer and Joan Whitney. Louis Jordan and his Tympany Five recorded the song on June 26, 1946 and Decca Records released it on a 78 rpm record. The single debuted on Billboard magazine's Rhythm and Blues Records Chart on December 14, 1946. It reached number one and remained at the top position for seventeen weeks, longer than any other Jordan single.
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With the Chick Webb orchestra he sang and played alto saxophone. In 1938 he started a band that recorded a year later as the Tympany Five. During the 1940s Jordan and the band became popular with such hits as "Choo Choo Ch'Boogie", "Knock Me a Kiss", "Is You Is or Is You Ain't My Baby", and "Five Guys Named Moe". He recorded with Ella Fitzgerald, Bing Crosby, and Louis Armstrong and appeared in films.
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The song's lyrics are based on "Let the Good Times Roll", the 1946 jump blues hit by Louis Jordan and his Tympany Five. However, instrumentally, it is a showcase for guitar playing. Music writer John Perry compares it to Freddie King instrumentals, such as "Hide Away" and "The Stumble". He adds that it is performed in the "guitar-friendly key of E ... specifically designed to cram as many hot licks as possible into a single number".
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"Ain't That Just Like a Woman (They'll Do It Every Time)" is a 1946 song by Louis Jordan and His Tympany Five. The song went to number one on the R&B; Jukebox chart for two weeks and peaked at number seventeen on the pop chart. Chuck Berry, who acknowledged the influence of both Louis Jordan and Carl Hogan, copied the latter's guitar introMiller, James (1999). Flowers in the Dustbin: The Rise of Rock and Roll, 1947–1977.
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In May 2015, uncommonly large numbers of saigas began to die from a mysterious epizootic illness suspected to be pasteurellosis. Herd fatality is 100% once infected, with an estimated 40% of the species' total population already dead. More than 120,000 carcasses had been found by late May 2015, while the estimated total population was only 250,000. Biologist Murat Nurushev suggested that the cause might be acute ruminal tympany, whose symptoms (bloating, mouth foaming, and diarrhea) had been observed in dead saiga antelopes.
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Davis was born in Glasgow, Missouri. He is best known for his pioneering jazz electronic organ recordings and for his tenure with the Tympany Five, the backing group for Louis Jordan. Prior to the emergence of Jimmy Smith in 1956, Davis (whom Smith had reportedly first seen playing organ in the 1930s) was the pacesetter among organists. Davis originally played guitar and wrote arrangements for Milt Larkin's Texas-based big band during 1939–1942, a band which included Arnett Cobb, Illinois Jacquet, and Tom Archia on horns.
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Ethel Waters debuted there, as did Pearl Bailey, who sang in a chorus line. Louis Armstrong and Fats Waller worked as accompanists. Singer Louis Jordan, Duke Ellington, The Tympany Five, Etta James, Nat King Cole, The Platters, The Temptations, and The Supremes, as well as a 40-piece, all-female band touring with Count Basie called the Sweethearts of Rhythm, were all performers at the Royal. Baltimore City's first talking motion picture was shown there: 1929's Scar of Shame, featuring a black cast.
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However, Louis Jordan and His Tympany Five dominated the 1940s R&B; charts, or (as they were known at the time) the "race" charts. In this period Jordan had eighteen number 1 singles and fifty-four in the Top Ten. According to Joel Whitburn's analysis of the Billboard magazine charts, Jordan ranks fifth among the most successful musicians of the period 1942–1995. From July 1946 through May 1947, Jordan had five consecutive number one songs, holding the top slot for 44 consecutive weeks.
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First attested in English in the late 19th century, the Italian word timpani derives from the Latin tympanum (pl. tympana), which is the latinisation of the Greek word τύμπανον (tumpanon, pl. tumpana), "a hand drum",τύμπανον, Henry George Liddell, Robert Scott, A Greek- English Lexicon, on Perseus which in turn derives from the verb τύπτω (tuptō), meaning "to strike, to hit".τύπτω, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus Alternative spellings with y in place of either or both i's—tympani, tympany, or timpany—are occasionally encountered in older English texts.
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Retrieved 7 May 2013. Using the name Spo-Dee-O-Dee, Theard performed as a comedian at the Apollo Theater in Harlem during the 1930s and 1940s, and also recorded under that name in 1941. Another well-known song, co-written with Louis Jordan but credited to Jordan's wife Fleecie Moore, was "Let the Good Times Roll", written in 1942, which became a hit a few years later when Louis Jordan and his Tympany Five recorded it in 1946, one of many Theard compositions recorded by Jordan. Theard would later appear in Jordan's film Caldonia.
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Adams was hired by GAC, where he studied the one-night band booking practices of GAC's Joe Shribman and determined to become an agent. In one of his earliest efforts, he managed to introduce bandleader Louis Jordan and his Tympany Five to Chicago café lounges in May 1941. The Jordan association lasted nine years and solidly established the careers of both men. Over the next few years, Adams represented clarinetist Jimmie Noone, saxophonists Ben Webster and Coleman Hawkins, boogie woogie stylists Albert Ammons and Pete Johnson, Fats Waller, Art Tatum, and young saxophonist Illinois Jacquet.
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Kittrell played at the famed tenth Cavalcade of Jazz concert held at Wrigley Field in Los Angeles which was produced by Leon Hefflin, Sr. on June 20, 1954. She performed along with The Flairs, Count Basie and his Orchestra, Lamp Lighters, Louis Jordan and His Tympany Five, Ruth Brown, and Perez Prado and his Orchestra.“Tenth Annual Cavalcade Offering Finest Variety At Wrigley Field June 20” Article The California Eagle June 2, 1954. In late 1954, it was reported that she had left the recording industry to sing with the Simmons Akers gospel singers.
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In 1948, RCA Victor was marketing black music under the name "Blues and Rhythm". In that year, Louis Jordan dominated the top five listings of the R&B; charts with three songs, and two of the top five songs were based on the boogie-woogie rhythms that had come to prominence during the 1940s. Jordan's band, the Tympany Five (formed in 1938), consisted of him on saxophone and vocals, along with musicians on trumpet, tenor saxophone, piano, bass and drums. Lawrence Cohn described the music as "grittier than his boogie-era jazz-tinged blues".
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"Beans and Corn Bread" is a 1949 jump blues song by Louis Jordan and Tympany Five, released by Decca. It was written by Jordan under his wife's name, Fleecie Moore, and Fred B. Clark. It is used as the theme song for the WTBS program Dinner and a Movie as well as being featured in the 1992 film Malcolm X. "Beans and Cornbread" was also the traditional meal served to NASA launch crews following a successful space shuttle launch. The tradition was begun on April 12, 1981, by NASA test director Norm Carlson and was continued after every successful launch.
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"Buzz Me" is a 1946 song by Louis Jordan and his Tympany Five that is credited to Fleecy Moore and Dave Dexter. Released by Decca Records as a single, it was the first song in 1946 to reach the number one spot on the R&B; chart and was the first of five Louis Jordan releases to achieve the top position in 1946. "Buzz Me" also peaked at number nine on the pop chart. The single became a double-sided hit when the B-side "Don't Worry 'Bout That Mule" also hit number one on the R&B; chart later in the year.
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It was also the only album to feature the group's first full-time fiddler Richard "Corky" Casanova, who joined in time for the album's recording but left shortly after its release. Guest contributors include Johnny Gimble on fiddle and mandolin, Andy Stein on saxophone and fiddle, and Mickey Raphael on harmonica. Like its predecessor, Asleep at the Wheel failed to register on any national or international record charts. However, the band did register on the US Billboard Hot Country Songs chart for the first time, when second single "Choo Choo Ch'Boogie" (originally recorded by the Tympany Five) registered at number 69 in December 1974.
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However, when popular jump blues bandleader Louis Jordan and his Tympany Five recorded the song as "Keep A-Knockin'" in 1939,Decca Records (7609) the single's credits listed "Mays-Bradford" (Bert Mays and Perry Bradford). in 1957, Little Richard recorded it with "R. Penniman", Richard's legal name, listed as the writer, although Bert Mays and J. Mayo Williams were later credited as songwriters. Beginning with his signing by the Los Angeles–based Imperial Records in 1950, Smiley Lewis was one of the main proponents of the emerging New Orleans rhythm and blues style, along with Fats Domino, Lloyd Price, Dave Bartholomew, and Professor Longhair.
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Jordan first formed the band as "The Elks Rendezvous Band", named after the Elks Rendezvous jazz joint in Harlem. The original lineup of the sextet was Jordan (saxes, vocals), Courtney Williams (trumpet), Lem Johnson (tenor sax), Clarence Johnson (piano), Charlie Drayton (bass) and Walter Martin (drums). The various lineups of the Tympany Five (which often featured two or three extra players) included Bill Jennings and Carl Hogan on guitar, renowned pianist-arrangers Wild Bill Davis and Bill Doggett, "Shadow" Wilson and Chris Columbus on drums and Dallas Bartley on bass. Jordan played alto, tenor and baritone saxophone and sang the lead vocal on most numbers.
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Trocars are widely used by veterinarians not only for draining hydrothorax, ascites, or for introducing instruments in laparoscopic surgery, but for acute animal-specific conditions as well. In cases of ruminal tympany in cattle, a wide-bore trocar may be passed through the skin into the rumen to release trapped gas. In dogs, a similar procedure is often performed for patients presenting with GDV (gastric dilatation-volvulus) in which a wide-bore trocar is passed through the skin into the stomach to immediately decompress the stomach. Depending on the severity of clinical signs on presentation, this is often performed after pain management has been administered but prior to general anaesthesia.
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Their lyrics, by Roy Alfred (who later co-wrote the 1955 hit "(The) Rock and Roll Waltz"), were mildly sexually suggestive, and one teenager from Philadelphia said "That Hucklebuck was a very nasty dance". Also in 1949, a new version of a 1920s blues song, "Ain't Nobody's Business" was a number four hit for Jimmy Witherspoon, and Louis Jordan and the Tympany Five once again made the top five with "Saturday Night Fish Fry". Many of these hit records were issued on new independent record labels, such as Savoy (founded 1942), King (founded 1943), Imperial (founded 1945), Specialty (founded 1946), Chess (founded 1947), and Atlantic (founded 1948).
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The song was recorded in January 1946 by Louis Jordan & His Tympany Five and released by Decca Records. It topped the R&B; charts for 18 weeks from August 1946, a record only equalled by one other hit, "The Honeydripper." The record was one of Jordan's biggest ever hits with both black and white audiences, peaking at number seven on the national chart and provided an important link between blues and country music, foreshadowing the development of "rock and roll" a few years later. Alternating up and down strokes of the F and F6 chords on the guitar creates a relaxed shuffle beat feel.
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"Let the Good Times Roll" is "Louis Jordan's buoyant invitation to party": The song was written by Sam Theard, a New Orleans-born blues singer and songwriter, and was co-credited to Fleecie Moore, Jordan's wife, who never wrote a lyric in her life (however, her name was sometimes substituted for Jordan's to get around an inconvenient publishing contract; this strategy backfired when Louis and Fleecie divorced acrimoniously and she kept ownership of the songs he'd put her name on – thus denying him any income from them). Jordan and the Tympany Five performed the song in the 1947 film Reet, Petite, and Gone, although the studio recording rather than a live performance is used in the soundtrack.
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Economic changes also made the earlier big bands unwieldy; Louis Jordan left Chick Webb's orchestra the same year to form the Tympany Five. Mixing of genres continued through the shared experiences of the World War II, and afterward a new style of music emerged, featuring "honking" saxophone solos, increasing use of the electric guitar, and strongly accented boogie rhythms. This "jump blues" encompassed both novelty records, such as those by Jordan, and more heavily rhythmic recordings such as those by Lionel Hampton. Increasingly, the term "rocking" was used in the records themselves, and by the late 1940s frequently was used to describe the music of performers such as Wynonie Harris whose records reached the top of the newly christened "rhythm and blues" charts.
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Due to the popularity of Bessie Smith's recording, numerous musicians began interpreting the song in recordings of their own. The song became an early standard with jazz and blues artists, such as the Count Basie Orchestra, Louis Jordan And His Tympany Five, Sidney Bechet, Scrapper Blackwell, Eddie Condon, Josh White, Julia Lee, and Lead Belly. In the late 1950s – early 1960s, it again became popular with the American folk music revival, with recordings by Eric Von Schmidt, Odetta, Chad Mitchell Trio, Dave Van Ronk, and an early demo by Janis Joplin with Jorma Kaukonen. In 1960, a version by Nina Simone reached number 23 in the Billboard R&B; chart as well as number 93 in the Hot 100 pop chart.
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"Stone Cold Dead in the Market (He Had It Coming)" is a 1946 song with lyrics and music by Wilmoth Houdini, a Trinidad and Tobago musician who had moved to the United States. It was recorded by Ella Fitzgerald and Louis Jordan and His Tympany Five on Decca and later included in the Ella Fitzgerald album Ella and Her Fellas. The lively tone of the music is matched by the use of dark humor in the lyrics. The song is sung in first-person and tells the story of an unnamed woman who killed her husband with a rolling pin, bashing in his skull while in a marketplace after he went out drinking and then came home and beat her.
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Jordan's popularity was boosted not only by his hit Decca records but also by his prolific recordings for Armed Forces Radio and the V-Disc transcription program, which helped to make him popular with whites and blacks. He starred in short musical films and made "soundies" for his hit songs. Stepping away from his rhythm and blues style, Jordan started a big band in the early 1950s that was unsuccessful. Illness kept him near home in Arizona thougout the 1950s. In 1952, Jordan performed on June 1 at Wrigley Field in Los Angeles for the eighth Cavalcade of Jazz concert produced by Leon Hefflin, Sr. Jordan and His Tympany Five returned for the tenth Cavalcade of Jazz concert on June 20, 1954.
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With his dynamic Tympany Five bands, Jordan mapped out the main parameters of the classic R&B;, urban blues and early rock-and-roll genres with a series of highly influential 78-rpm discs released by Decca Records. These recordings presaged many of the styles of black popular music of the late 1940s, 1950s and 1960s and exerted a strong influence on many leading performers in these genres. Many of his records were produced by Milt Gabler, who went on to refine and develop the qualities of Jordan's recordings in his later production work with Bill Haley, including "Rock Around the Clock". Jordan ranks fifth in the list of the most successful African-American recording artists according to Joel Whitburn's analysis of Billboard magazine's R&B; chart, and was the most popular rhythm and blues artist of the pre-Rock n' Roll era.
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On what for a time was known as the Chitlin' Circuit, the Regal also featured motion pictures and live stage shows. Nat "King" Cole, Cab Calloway, Louis Armstrong, Ella Fitzgerald, Sarah Vaughan, Lena Horne, Dinah Washington, Miles Davis, Sammy Davis Jr., Lionel Hampton, Dizzy Gillespie, and Duke Ellington performed frequently at the theater through the 1920s and 1940s.The Regal Theater and Black Culture By C. Semmes Other acts who have performed at the Regal over the years have included such icons as The Sheppards Sam Cooke, Jackie Wilson, The Supremes, Wayne Cochran, The Esquires The Temptations, The Four Tops, Herbie Hancock, Della Reese, Stevie Wonder, Les Paul, Gladys Knight & the Pips, Lola Falana, Louis Jordan and his Tympany Five, Solomon Burke, International Sweethearts of Rhythm, Dionne Warwick, James Brown & The Famous Flames, The Isley Brothers, John Coltrane, Dorothy Dandridge, Revella Hughes, Five Stairsteps, Peg Leg Bates, Dave Peyton and Martha and the Vandellas. Closed in 1968, the theater was later demolished in 1973.
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