Timothy R. Hoover – Soul Serenade: King Curtis And His Immortal Saxophone
University of North Texas Press
352 Pages Hardcover edition
Curtis Ousley was one of those rare individuals born to play music. Even in high school, his all-out efforts on the tenor saxophone quickly marked him as a rising star. Soon, he was dominating the local Ft. Worth music scene with his intense dedication and undeniable talent. When he decided to bill himself as King Curtis, it wasn’t boasting, simply a way to make sure people remembered him.
From that point, author Timothy Hoover expertly tracks the course of Ousley’s life and career. Born to an unwed teen-aged mother, King Curtis was adopted as a baby, taking the last name of his new parents. Growing up, he heard music on the radio, with hit-maker Louis Jordan making a big impression. But once King Curtis got his first sax, his talent was quickly apparent. Playing in the clubs, he often earned more than $200 a week, and would regularly pack the Paradise Club, the main Black venue in town.
With his ambitions growing, it took a visit to see his uncle in New York City to open up a whole new world of opportunities. Already a fully grown man brimming with confidence, the high school senior entered an amateur talent contest at the Apollo Theater, winning two weeks in a row. He also took part in his first recording session. It was tough to return to Ft. Worth, but Lady Luck came knocking when Lionel Hampton and his band were touring the Southwest. Hampton’s sax player took ill, and Ousley was quickly recommended as a replacement, leading to a three month tour. Despite college scholarship offers, King Curtis knew he needed to return to New York City to realize his dreams of musical stardom.
At first, it was the usual story of working in clubs for long hours and low pay. But Ousley stayed motivated, building his reputation while befriending key artists like songwriter/singer Doc Pomus and session guitar legend Mickey Baker. Soon his bold tone and clean notes captured the attention of Ahmet Ertegun, the founder of Atlantic Records. There were plenty of brawny sax players like Sam “The Man” Taylor, Big Jay McNeely, and Hal Singer working the recording studios. But King Curtis had a fresh sound that quickly led to him working as many as 16 sessions in a single week.
His big break occurred when he was paired up with the vocal group the Coasters. The quartet was scheduled to record a Jerry Leiber – Mike Stoller penned song aimed at the teenage market. The group’s vocals were fine, but once “Yakety Yak” was released, everyone went crazy over the King Curtis sax break, delivered in his staccato “chicken scratch” style. Atlantic continued to use King Curtis on the group’s records, with Ousley soon being tagged the fifth Coaster.
Now the toast of the town, Ousley’s influence and impact continue to grow. Hoover traces his participation on other hit records like “Tossin’ & Turnin’” by Bobby Lewis through a session with Buddy Holly and Waylon Jennings to recording his own hit record, “Soul Twist,” which made to the top of the Billboard Magazine R&B chart in 1962. He puts together his formidable band, the Noble Knights, consisting of Cornell Dupree on guitar, Chuck Rainey on bass, and Ray Lucas on drums. In short order, the band is backing the sensational Sam Cooke on a tour, with the classic album Live At The Harlem Square Club capturing the magic they created, although it wasn’t released for over 20 years.
In an easy rolling style, Hoover delves into the many highlights of the saxophonist’s growing career. Jimi Hendrix serves a brief stint in the King Curtis band. That is topped when he is tabbed to open the Beatles US tour, including the famous Shea Stadium show. Even that was eclipsed when Aretha Franklin decided to sign with Atlantic Records after her contract with Columbia Records expired.
Producer Jerry Wexler decided to make King Curtis her new band leader, and along with his new drummer, the legendary Bernard Purdie, they create the tracks that became Franklin’s first classic Atlantic album, I Never Loved A Man The Way I Love You. The lead-off song, “Respect,” was a monster hit that continues to resonate. In 1971, both artists went on tour together, culminating in live records from dates at Bill Graham’s Fillmore West that showcase the musical mastery that flowed from their collaboration. The sax player continued to expand his musical horizons, getting opportunities to produce records for other artists, recording a jazz album with fellow tenor saxophonists Oliver Nelson and Jimmy Forrest on Prestige Records, and jamming with Delaney & Bonnie alongside Duane Allman.
The author also touches on more personal aspects of Ousley’s life including his love for his family, his penchant for gambling, and a warm personality that made him a favorite of many of his contemporaries. Sprinkled throughout the book are B&W photos taken throughout Ousley’s life. Also included are several appendixes – Recommended Listening, Top Ten Accompaniments, and Ten Must-Listen King Curtis Songs.
Just as his influence was reaching epic proportions, the end came with shocking finality. The tragic death of King Curtis is laid out in detail, but even now it can be hard to believe. Hoover does a masterful job of telling the story of a man, a musician who was changing the world, one of those shooting stars that burns out far too quickly. As Hoover reminds us, we are left to marvel at the legacy of King Curtis, and ponder what he might have accomplished had fate not cut him down.
Long live King Curtis!
