Boulevard Studios, Chicago - Any Information?

[Amsterdam Russ]

I'm trying to find out some background information about Boulevard Studios, 632 North Dearborn St, Chicago.

The building at the address was home to the Chicago Historical Society. In fact, the building was designed with them in mind by architect Henry Ives Cobb in 1896. The society moved from there in 1932 and at some point parts of the building were converted into a recording studio. Today, it's a nightclub.

I know that Boulevard Studios was operational during the 50s and that Vee Jay used its facilities. There is some information to be had courtesy of the Red Saunders Research Foundation, but only occasional and scattered mentions in the descriptions of some songs that they were recorded there.

What would be good is a more concrete idea of the performers, producers, labels etc, that used the studios, how long the company lasted and any information about the people behind the operation.

Edited June 5, 2012 by Russell Gilbert

[Chalky]

I presume you've checked Chicago Soul by Robert Pruter but just in case I have and can't see any reference to it, not in the index or in the page or two at the front about recording studios. Robert Pruter does say Chicago in the 60's was the era of the in house studios.

[Dave Moore]

Bob A will be your man.

Regards,

Dave

[boba]

sorry I can't add anything. I know much about 50s groups / records and I think artists I have interviewed have never mentioned that studio. Sorry.

[Amsterdam Russ]

Ok, thanks guys.

I've learned that groups to record there included:

Five Chances (United)

Sonny Til's Orioles (Vee Jay)

The Magnificents (Vee Jay)

Artie Wilkins & the Palms (States)

Danderliers/Moroccos/Lefty Bates Band (United)

Dates range from between 1953 to 56. As far as I can tell, the studios were located at 25 East Jackson before moving to the address given earlier. Based on the date range, it would appear that the studios were quite short-lived. Illogically, I'd expected it to be a studio of long-standing with a rich vein of history running through the 60s R&B and soul music scenes. Perhaps that was just wishful thinking on my part.

My prime motivation for asking is that I've just got hold of an incredible double-sided acetate from Boulevard Studios with two absolutely stonking R&B tracks on them. Even better, the acetate is in a sublime condition.

The brilliantly detailed Red Saunders Research Foundation (https://hubcap.clemso...mpber/rsrf.html) doesn't appear to have any mention of the two cuts, but the tracks are of such quality that they must have been released. Perhaps I'll make contact with the foundation (of which Robert Pruter is a member), and see if they can help in identifying them. If not, then they'll have a couple of mystery tracks to slot into their discographies of early Chicago R&B.

Moderators - as this appears to have no connection to the soul genre, please do feel free to move this thread to some dark corner of a forum somewhere if it's thought best.

Edited June 6, 2012 by Russell Gilbert

[boba]

Ok, thanks guys.

I've learned that groups to record there included:

Five Chances (United)

Sonny Til's Orioles (Vee Jay)

The Magnificents (Vee Jay)

Artie Wilkins & the Palms (States)

Danderliers/Moroccos/Lefty Bates Band (United)

Dates range from between 1953 to 56. As far as I can tell, the studios were located at 25 East Jackson before moving to the address given earlier. Based on the date range, it would appear that the studios were quite short-lived. Illogically, I'd expected it to be a studio of long-standing with a rich vein of history running through the 60s R&B and soul music scenes. Perhaps that was just wishful thinking on my part.

My prime motivation for asking is that I've just got hold of an incredible double-sided acetate from Boulevard Studios with two absolutely stonking R&B tracks on them. Even better, the acetate is in a sublime condition.

The brilliantly detailed Red Saunders Research Foundation (https://hubcap.clemso...mpber/rsrf.html) doesn't appear to have any mention of the two cuts, but the tracks are of such quality that they must have been released. Perhaps I'll make contact with the foundation (of which Robert Pruter is a member), and see if they can help in identifying them. If not, then they'll have a couple of mystery tracks to slot into their discographies of early Chicago R&B.

Moderators - as this appears to have no connection to the soul genre, please do feel free to move this thread to some dark corner of a forum somewhere if it's thought best.

I know a couple of the five chances if you want contact into to talk them. One of them has a really good memory. And I'm pretty sure Johnny Keyes is still around.

[Amsterdam Russ]

That's really appreciated, Bob. First off, I'm going to enquire with the RSRF. Not only might they be able to help in identifying the tracks and provide some general background on the studios, but I reckon they might well appreciate having scans of the disc for their archives. I'll report back with an update...

[Amsterdam Russ]

Just an update on this...

I emailed Robert Campbell, Chicago blues & R&B expert and one of the leading lights of the RSRF, asking he might be able to help identify the article/label of release. I also offered to send soundfiles of both sides if wished. However, I received no reply.

A couple of days ago, I emailed Robert Pruter and asked the same questions: could he identify the artist and label of release by the song titles; if not, would he like to hear the tracks?

He was unable to offer any info and had no interest in hearing the tracks. Additionally, if I had not heard from Campbell, he said, then it was because he'd forgotten about my email or had nothing to say about the disc.

For guys with a highly specialised and long-standing interest in the history of blues and R&B in Chicago, I had thought that a possibly unknown and unreleased recording from the city might have piqued their interest, even if just a little bit.

But, it would seem not.

So, the tracks, along with the identity of the artist, remains unknown. Think I'll stick it up on YouTube and see if anyone can identify it. The singer sounds incredibly familiar, but I can't put my finger on it, and I really have very little knowledge of the whole genre. If the tracks are performed by someone well known, then I'm sure someone will come forward and volunteer their identity soon enough.

[boba]

certain people are old and curmudgeonly and don't care anymore about more than a tiny range of music they have decided was good a long time ago.

Bob Stallworth might be more helpful though.

[Amsterdam Russ]

I hear exactly what you're saying there, Bob. I thought though that Pruter et al, were absolutely dedicated in their desire to comprehensively document the blues/R&B output of the city in the post-war years. If that were me and someone came along with tracks I'd never heard of, I'd at least have wanted to hear them - find out whether they were hitherto unknown. For if they were unreleased or unknown, then their discovery should surely be a welcome addition not only to the discography of the city, label and artist, but also to the repository of knowledge about Chicago's musical heritage that these guys have been building for years.

The chances that both tracks got released is much more probable than them not having seen the light of day, but in looking at the wonderfully detailed discographies on the RSRF pages, I would have thought that even scans of both sides of the acetate might have been useful additions to their pages.

Obviously, I expect too much of people. Ho-hum.

Bob Stallworth - thanks for the tip. I see that he's also a member of the RSRF. Regardless, perhaps I'll drop him a line as well.

[Amsterdam Russ]

If anyone is interested, I've now uploaded both of these tracks to YouTube. Please do have a listen and see if you can identify the singer/sax player. It's someone well known, I'm sure, but who?

[media=]https://youtu.be/25sD6-LHT70

[boba]

I have no idea, sorry, but that acetate label looks cool, i have never seen that

[Robbk]

I've been collecting R&B since 1953, and I lived in Chicago, back in the day. Like you, that voice seems familiar to me. From your list, it seems clear that Boulevard Studios was just a second-option studio for indie labels in Chicago, VJ and United/States used Universal and other studios for the majority of their recordings. First, I can't positively identify the singer by voice, or the sax player by style. Secondly, I don't remember hearing the songs or seeing a record with those 2 titles back-to-back.

I have virtually complete discographies for those 3 labels, and Mr. Jolly Man/Do It were NOT released on United, States or VJ Records. I will proceed to peruse the discographies of Chance/Sabre, Parrott/Blue Lake, Theron, Cobra, JOB, Chess/Checker, Drexel, Club 51, etc.

[Amsterdam Russ]

I appreciate the effort you've taken, Robb.

From what I can make out based on the little information I have been able to find, and exactly as you say, the studios were indeed pretty much second tier for the labels mentioned. Having said that, the studio was operational for at least four years, which means that they had to have been reasonably busy recording material, otherwise one presumes that they would have closed much sooner.

[Robbk]

I now have finished checking Chance, Sabre, Parrot, Blue Lake, Theron, JOB, Cobra, and Drexel. It wasn't released on any of those labels.

[Robbk]

These cuts weren't released on Chess, Checker, or Club 51. I'll now check Mercury and the rest of the early '50s Chicago labels I know exist. I'm not about to look through all the national major labels like RCA, Columbia/Okeh, However, I really think that your best chance is to get through to Bob Stallworth.

[Robbk]

Those cuts were NOT released on Mercury or Okeh Records. I checked Okeh, despite their own production mainly operating out of New York, because they did lease productions from Chicago, and did a little bit of recording in Chicago. Columbia would not be worth checking.

[Amsterdam Russ]

Thanks for going to all that trouble! So, it's now reasonable to assume that the two cuts were not released.

Doing my own little bit of digging, I've found references to Boulevard Studios that show it was still operating up to the mid-60s. Other names I can add to the list of acts to record there are:

* Freddie Tieken & the Rockers: Sittin' here crying / Uncle John (Hit Records, 1956)

* The Palms (1956 & 57)

* Sparkle Moore - female rockabilly singer (1956)

* The Knaves - garage band (1964)

* The Crestones - She's a bad motorcycle / Grasshopper dance (Markie 117, 1964)

Additionally, a young sound engineer by the name of Tom Pick worked at Boulevard Studios before moving to RCA where he went on to have great success with Elvis Presley. He also worked with Jerry Lee Lewis and Dolly Parton and has won something like seven or 11 Grammys (depending on which website you're on).

So, Boulevard does seem to have a long and rich history, and one that is intertwined with the development of a variety of musical styles in the city.

[Robbk]

Thanks for going to all that trouble! So, it's now reasonable to assume that the two cuts were not released.

Doing my own little bit of digging, I've found references to Boulevard Studios that show it was still operating up to the mid-60s. Other names I can add to the list of acts to record there are:

* Freddie Tieken & the Rockers: Sittin' here crying / Uncle John (Hit Records, 1956)

* The Palms (1956 & 57)

* Sparkle Moore - female rockabilly singer (1956)

* The Knaves - garage band (1964)

* The Crestones - She's a bad motorcycle / Grasshopper dance (Markie 117, 1964)

Additionally, a young sound engineer by the name of Tom Pick worked at Boulevard Studios before moving to RCA where he went on to have great success with Elvis Presley. He also worked with Jerry Lee Lewis and Dolly Parton and has won something like seven or 11 Grammys (depending on which website you're on).

So, Boulevard does seem to have a long and rich history, and one that is intertwined with the development of a variety of musical styles in the city.

No. We still can't assume that those cuts weren't pressed up. There were likely to be many one-off or two-off indie labels I have never seen, plus, we now have 1957-58 to look through (which I will NOT do). I still think that Bob Stallworth should be able to help you.

[Amsterdam Russ]

No need for capital letters, Robb. You've done way more than could have been expected already, and this I find exceptional.

Apart from broadcasting unheard of or (personally) much-loved tunes to the world, one of the reasons I put stuff on YouTube is that it's almost inevitable someone will eventually come along and provide some sort of genuine insight.

As much as I would love to find out more about the artist and session, I'd also like to find out more about the studio. Based on the information online, it appears to have been rather over-looked in many respects. And there's the rub: how can a recording studio operating in Chicago from (as far as we know) the mid '50s to the mid '60s - and so for at least a decade - be so poorly documented? On such a basis, surely they would have been part of the local musical tapestry?

[Robbk]

No need for capital letters, Robb. You've done way more than could have been expected already, and this I find exceptional.

Apart from broadcasting unheard of or (personally) much-loved tunes to the world, one of the reasons I put stuff on YouTube is that it's almost inevitable someone will eventually come along and provide some sort of genuine insight.

As much as I would love to find out more about the artist and session, I'd also like to find out more about the studio. Based on the information online, it appears to have been rather over-looked in many respects. And there's the rub: how can a recording studio operating in Chicago from (as far as we know) the mid '50s to the mid '60s - and so for at least a decade - be so poorly documented? On such a basis, surely they would have been part of the local musical tapestry?

Although, clearly a 2nd or 3rd choice studio for most of the known labels, they seem to have been used quite a bit by United/States Records in the '53-57 period. Bob Stallworth has a history of the major R&B record companies on The Internet, and he is an expert on what was going on in the industry then. I'm sure he could tell you a lot about which firms used which studios (of course, Universal Sound Studios was used most by the most of the major R&B record companies in Chicago through the '50s and into the '60s (when it competed with RCA, Ter-Mar (Chess) and others. I had heard of Boulevard Studios before. But it was just another one of the studio names to me. In any case, I'd bet Bob S. could identify the artist for you and tell you the label and catalogue number. If NOT, then you might have an educated guess that it wasn't released.

[Amsterdam Russ]

Thank, Robb

[Robbk]

I've checked out The Red Saunders Foundation's website which covers African-American music produced in Chicago from 1939 to 1960, to look for labels I might have forgotten. Unfortunately, there were none that I had forgotten. Also, I remembered to check Bally Records, and your cuts were not issued on that label. The Red Saunders Foundation website even had labels with only one or two issues listed. So, I think that the odds are this record was not released. Still, upon listening to it, Bob may be able to tell whose voice the vocalist is. Good luck. By the way, I was not only doing that "research" as a favour,, but moresobecause I was interested, myself.

[Kris Holmes]

cool tracks/find, voice does sound familiar, but maybe it's just the style, could be a singing sax player in the Louis Jordan vein. Does the name on the label throw up any leads, I can imagine someone cutting an acetate & then naming it with contact details. Did you try calling the number....

Edited July 9, 2012 by Kris Holmes

[Robbk]

I know I've heard that sax player before, and also the piano player. At least they should be traceable (if not, necessarily whose name would have been written on the label.

[boba]

yeah, what is the name / number, it's hard to see?

[Kris Holmes]

Ronald Stack or Stark

Vocals on Mr Jolly Man sounds like the singer was a Roy Milton fan at least....

Edited July 9, 2012 by Kris Holmes

[Amsterdam Russ]

I've checked out The Red Saunders Foundation's website which covers African-American music produced in Chicago from 1939 to 1960, to look for labels I might have forgotten. Unfortunately, there were none that I had forgotten. Also, I remembered to check Bally Records, and your cuts were not issued on that label. The Red Saunders Foundation website even had labels with only one or two issues listed. So, I think that the odds are this record was not released. Still, upon listening to it, Bob may be able to tell whose voice the vocalist is. Good luck. By the way, I was not only doing that "research" as a favour,, but moresobecause I was interested, myself.

The Red Saunders Research Foundation (RSRF) was my first port of call - as mentioned in my opening post - but I couldn't find anything specific either. And Robb, I know that you had to have had an interest in the tracks, otherwise I'm sure you wouldn't have put so much effort into digging.

cool tracks/find, voice does sound familiar, but maybe it's just the style, could be a singing sax player in the Louis Jordan vein. Does the name on the label throw up any leads, I can imagine someone cutting an acetate & then naming it with contact details. Did you try calling the number....

I'm certain that the singer & sax player is one and the same.

The scribble on the disc reads: "Ronald Stack - Chesterton (something - can't make out the next word, but it looks as if it begins with the letter 'd'. I presumed 'drive', but the word ends with a long stem) - 9-6032"

No, I've not called the number on the disc, but anyone, feel free to do so and let us know if someone is there! I did try to do some online digging using the name, but it led to nothing.

[Kris Holmes]

calling the number was a joke, it's way old.

[dthedrug]

HI ALL BOULEVARD RECORDING STUDIO. 632 N. DEARBORN CHICARGO 111, Was so unimportant with old 5T's recording equipment and in a poor run down state, they did not have a pressing plant outlet to use in any shape or form, apart from knocking out 1 offs as accitates for very few people, they survived just into the 7T's by doing tailor made Radio jingles, it seems that the glory days from the 5T's & early 6T's when they had connections with vee-jay were just a dream? and that's that, I wish I had found more info connecting this dump for you, there aint no real history to tell? DAVE

[Amsterdam Russ]

calling the number was a joke, it's way old.

Yes, I'd gathered that...