Big Joe Turner

A towering presence in the landscape of American music, Big Joe Turner emerged as the leading blues shouter of the postwar period, his thunderous delivery and propulsive swing laying early groundwork for rock & roll. He began his career in the late 1920s, fronting bands led by Bennie Moten, Count Basie, and other Kansas City luminaries. Across the following two decades, he played a central role in shaping boogie-woogie, R&B, and jump-blues alongside Louis Jordan, Wynonie Harris, and Roy Brown. By the early 1950s, he established the blueprint for rock & roll through such successes as “Chains of Love,” “Honey Hush,” and the defining “Shake, Rattle & Roll.” The first wave of rock & roll performers drew heavily from his approach, frequently reworking material he had popularized. He remained active on stages through the 1970s and had already secured his place in history by the time of his death in 1985.

Joseph Vernon Turner, Jr. entered the world in 1911 in Kansas City, Missouri, absorbing the city’s vibrant, unregulated jazz and blues milieu. Equipped with an outsized voice and imposing physique that earned him his nickname, he appeared old enough in his teens to frequent local nightclubs. There he simultaneously served drinks and performed blues before forming a lasting alliance with boogie-woogie pianist Pete Johnson in the early 1930s; the duo worked together for the next thirteen years.

At John Hammond’s invitation, the pair first journeyed to New York in 1936. On December 23, 1938, they joined Big Bill Broonzy, Sonny Terry, the Golden Gate Quartet, and Count Basie on the bill of the landmark Spirituals to Swing concert at Carnegie Hall. Turner and Johnson delivered “Low Down Dog” and “It’s All Right, Baby,” igniting a boogie-woogie vogue that secured them an extended engagement at Cafe Society alongside Meade “Lux” Lewis and Albert Ammons.

As 1938 closed, Turner and Johnson recorded the powerful “Roll ’Em Pete” for Vocalion; Johnson’s pounding piano anchored the up-tempo track, which Turner revisited repeatedly over the years. The following year they cut the classic “Cherry Red” for the same label, supported by trumpeter Hot Lips Page and a full ensemble. In 1940 Turner moved to Decca, where he waxed “Piney Brown Blues” with Johnson at the keys; other Decca sides featured different accompanists, including Willie “The Lion” Smith on the somber “Careless Love” and Freddie Slack’s Trio on “Rocks in My Bed” in 1941.

During the war years Turner relocated to the West Coast and built a strong following on the Los Angeles club circuit. He joined National Records in 1945 and, under Herb Abramson’s guidance, produced several strong small-combo sides. Remaining with the label through 1947, he scored his first national R&B hit with the lively “My Gal’s a Jockey.” That same year he also recorded the risqué two-part “Around the Clock” for the Stag label under the name Big Vernon and engaged in a spirited vocal exchange with Wynonie Harris on the two-part “Battle of the Blues” for Aladdin.

By the late 1940s nearly every West Coast independent label carried at least one Turner release. He moved among RPM, Down Beat/Swing Time, MGM—all featuring Johnson on piano—then the Texas-based Freedom label (whose masters later reached Specialty) and Imperial in 1950, where a youthful Fats Domino provided piano in New Orleans. Aside from the 1950 Freedom 78 “Still in the Dark,” commercial success remained elusive until Atlantic executives Herb Abramson and Ahmet Ertegun encountered him filling in for Jimmy Rushing with Count Basie’s band at the Apollo Theater; impressed, they signed him, launching his most productive phase.

At his debut Atlantic session in April 1951, Turner delivered a deeply weathered reading of the blues ballad “Chains of Love,” co-written by Ertegun and pianist Harry Van Walls, returning him to the top of the R&B charts. Subsequent hits followed rapidly: “Chill Is On,” “Sweet Sixteen”—the same downbeat blues later linked with B.B. King—and “Don’t You Cry,” all cut in New York. He adapted effortlessly to different regional sounds. In 1953 he recorded his first R&B number-one, the driving “Honey Hush” (later covered by Johnny Burnette and Jerry Lee Lewis), in New Orleans with trombonist Pluma Davis and tenor saxophonist Lee Allen. Later that year he stopped in Chicago to work with slide guitarist Elmore James’s rawer group and scored again with the suggestive “T.V. Mama.”

Atlantic staff writer Jesse Stone supplied Turner’s biggest triumph, “Shake, Rattle and Roll,” his second chart-topper in 1954. With the label’s creative team reportedly joining the chorus behind his commanding lead, the track carried sufficient pop appeal to prompt a sanitized cover by Bill Haley & the Comets and a closer rendition by Elvis Presley. At age 43, Turner suddenly found himself a rock star. Follow-up singles—“Well All Right,” “Flip Flop and Fly,” “Hide and Seek,” “Morning, Noon and Night,” and “The Chicken and the Hawk”—sustained the same buoyant feel, backed by New York’s premier session players under Ertegun and Jerry Wexler’s production.

He appeared on several mid-1950s broadcasts of the television program Showtime at the Apollo, delivering an exuberant “Shake, Rattle and Roll” in front of Paul “Hucklebuck” Williams’s band. Hollywood also took notice: Turner lip-synced two numbers in the 1957 film Shake Rattle & Rock, which also featured Fats Domino and Mike “Mannix” Connors.

A fresh take on the older “Corrine Corrina” became another major seller in 1956, yet after the two-sided hit “Rock a While”/“Lipstick Powder and Paint” later that year, his Atlantic singles lost commercial traction. The label wisely shifted focus to jazz-oriented albums aimed at adult listeners; a Kansas City-styled session reuniting him with Johnson was recorded in 1956 and endures as a cornerstone of his catalog.

Turner remained with Atlantic until 1959, though a violin-laden remake of “Chains of Love” went nowhere while a revival of “Honey Hush” featuring a fiery King Curtis solo proved memorable. The 1960s yielded little of lasting impact, aside from an album cut with longtime admirer Bill Haley and his Comets in Mexico City in 1966.

By decade’s end his historical contributions received renewed attention, resulting in LPs for BluesWay and BluesTime. Throughout the 1970s and into the 1980s he recorded extensively for Norman Granz’s Pablo label, producing relaxed, informal sessions that paired him with jazz notables in loose jam settings. He would roar through familiar lyrics before stepping back for extended solos. Another notable project was the 1983 collaboration Blues Train with Roomful of Blues for Muse. Although health concerns and his large frame eventually required him to perform seated, he continued touring until shortly before his death in 1985. Known as the Boss of the Blues, the title suited him perfectly: whenever Turner raised his voice, listeners responded without hesitation.