4 Tons Of Rhythm

By Marv Goldberg

© 2025 by Marv Goldberg

The 4 Tons Of Rhythm are a good example of a "territory group" (analogous to a "territory band"). They formed in Kansas City, Missouri and most of their appearances were limited to the Midwest. Unlike most of the others, however, the Tons did cut a couple of records, one extremely rare. Note: I'll abbreviate "Kansas City" as "K.C." wherever possible.

Let's go back to early 1937 and toss out a name some of you will recognize: "Muggin' Boyd Kelly", who recorded several sides for Decca (such as "Hally Selassy"), along with Edmond "Sweet" Dixon (both were guitarists and singers). By the late spring of 1937, they, along with bassist Andrew Harris, formed the 3 Giants Of Swing, first appearing at the Three Deuces in Chicago, and then Lucille's Paradise in K.C. They had a short-lived radio show (over WOW) from October 12 to November 2, 1937, before becoming part of Clarence Muse's "Hot Chocolates" revue. They were back at Lucille's in January 1938.

In July 1938, leaving the Giants behind, Boyd Kelly formed a group called the 4 Maniacs Of Rhythm (also seen as the Rhythm Maniacs). This is the start of the 4 Tons Of Rhythm.

Boyd Monarch Kelly (guitar) was born on December 17, 1909 in Owensboro, Kentucky and died, in Chicago, on August 21, 1981. He'd leave the Tons in late 1940, eventually joining Lonnie Johnson's combo. In the 1940 census, he was a musician; in 1950, he was a Simonizer. In between, from May 1943 to November 1945, he was in the army. Note that his name is also seen, incorrectly, as "Kelley".

The other members of the 4 Maniacs Of Rhythm were:

James Glenwood "Jim Daddy" Walker (guitar) was born on May 23, 1912 in Kansas City and died there on May 3, 1949. He also played clarinet and even trombone, on occasion. He'd played banjo in Jap Allen's Cotton Club Orchestra, which also included Ben Webster. As a guitarist, he was with the Clarence Love Orchestra in 1936, and, for a while, with Count Basie in 1935. He was also a session musician for Capitol in K.C., as well as being part of Julia Lee's Boyfriends. His nickname was (questionably) explained in the May 6, 1949 Kansas City Call: "The name 'Jim Daddy' was given to him very early. It seems he had two uncles, one named Jim and the other Daddy. The dispute over which name the youngster should bear resulted in the obvious compromise." You're free to believe that.

Clinton "Clint" Weaver (bassist) was born on August 21, 1896 in Kansas City and died there on May 13, 1973. He could also play the Sousaphone (the kind of tuba that wraps around your body so you can march with it). In 1927, he'd been a member of George E. Lee's band, whose vocalist/pianist was George's sister, Julia Lee. He'd also been with Count Basie's first band in 1935 at the Reno Club and had his own band in late 1936.

B. C. Kynard (alto sax) was born on September 15, 1909 in Kensett, Arkansas and died on November 1, 1966 in Kansas City. Note that his actual name, per his birth certificate, was "B. C.". The older brother of saxophonist Ben Kynard, he'd been with Clarence Love's band in the late 1920s. From February 1942 to October 1945, he was in the army.

On July 31, 1938, Clint Weaver and Jim Daddy Walker were part of [Dan] Blackburn's Municipal Band, which had been giving concerts in Kansas City since 1918. This would have been at the same time the Maniacs were forming, because, on July 29, the Maniacs began a week at Lucille's Paradise, which was extended into two.

The August 12, 1938 Kansas City Call told us about the new group in Pulitzer-Prize-winning fashion:

With Kansas City the recognized hotbed of swing, it is no wonderment that the latest unit to be developed in the swing world that is sure to be a "killer-diller" when they get some national recognition should be developed in this Missouri city. [Feel free to add your own punctuation.]

The "Four Maniacs Of Rhythm" were organized here three weeks ago and since that time have taken the place by storm. Composed of two guitars, bass fiddle, and an alto sax, the music poured out of this quartet positively "solid".

There are no weak points about this quartet. Boyd Kelly, former member of the "Three Giants Of Swing", who played at the Three Deuces in "Chi", is the leader of this group. He plays the guitar and sings a la Louis Armstrong in grand style. Many have heard his recording of "Marie" [by Muggin' Boyd Kelly & Sweet Dixon], which is tops in any language.

"Big Jim Daddy" takes the other guitar and adds his bit of vocalizing to help the unit along their way. Jim Daddy has played with Clarence Love and Jap Allen's orchestras as well as having been one of the best guitar players in this city for some time.

With a musical background comparable with the leading musicians in the country, Jim Daddy provides most of the arrangements for the group.

On the bass fiddle will be found Clint Weaver, who formerly was bass man with the "Four Swingmen Of Swing". He is a solid bass man, little flash, but plenty good on the big fiddle. [Originally the "Three Swingmen Of Swing", only Lonnie Lee was ever named as a member.]

The fourth member of the quartet is B. C. Kynard, a hot alto sax man if there ever was one. B. C. recently returned from a southern tour with Earl Hines and his orchestra, but, due to union trouble in Chicago, he was unable to follow the piano picker into Chi. B. C. plays the sax and clarinet in the quartet and if you don't think he is hot, you should take the first opportunity and listen sometime. This cat also can do a mean bit of vocalizing when he gets in the groove and I don't mean maybe.

"Marie", "Star Dust", "When My Dream Boat Comes Home", "Music Maestro Please", and "Flat Foot Floogie" are some of the numbers that they have made special arrangements of that are certainly pleasing to the ear.

Don't be a bit surprised if you hear considerably more from this unit.

On August 22, they opened at the Wayside Inn. Note that, if I don't mention a city, the venue was in Kansas City.

Let me briefly mention Vine Street Varieties. This was a weekly musical radio show, broadcast Saturdays, over WHB, from the stage of the Lincoln Theater. It began on May 7, 1938 and became extremely popular. As the April 29 Call put it:

Any person or group of persons possessing musical talent are eligible for participation on the programs. Professional and amateur musicians alike are invited to come out Wednesday afternoon and participate in the audition.

There will be a committee to judge the acts as they appear and will choose those who are to participate on Saturday's program.

Dancers who are capable of producing steps audible over the radio are also eligible for participation on the programs....

The public is invited to attend both the auditions and the radio broadcast.

I bring this up because the Rhythm Maniacs would be on that show on numerous occasions.

For example, the Four Maniacs Of Rhythm appeared on Vine Street Varieties on September 10, 1938. They were named as Weaver, Kelly, Kynard, and Walker and were back on December 2.

The April 7, 1939 Call said that they'd returned to Lucille's Paradise, where they'd gotten their start. From there, they went straight into K.C.'s Cuban Room. On April 14, they were once again on Vine Street Varieties.

The next time they appeared on the Varieties (July 22), they were advertised as "Boyd Kelly And His Six Maniacs". However, the ad mentioned some single artists and the 4 Maniacs Of Rhythm. The July 21 Call didn't help all that much:

Boyd Kelly and his "Masters Of Rhythm" will play the show at the regular Saturday afternoon and night sessions of "Vine Street Varieties" this week.

Composed of the members of the Four Maniacs Of Rhythm, a trumpet, piano, and drums, this aggregation really pours out some mellow rhythm. [I'm trying to figure out how 4 maniacs plus 3 instrumentalists equals 6 maniacs. I shouldn't have skipped integral calculus.]

Following a fast tap routine by the "Two Rhythm Rascals", the band will close the show playing "Call Of The Maniacs".

Over time, Kelly seems to have put together shows that included the 4 Maniacs as well as other acts, but it's usually difficult to unravel what he's doing.

For example, when they were back on August 18, the ad had two consecutive lines: "Kelly And His Killer Dillers" and "The Four Maniacs Of Rhythm". It went on to list other acts on consecutive lines and it's unclear whether "Killer Dillers" refers to the Maniacs, another act that Kelly was presenting, or to the whole show.

The August 1939 Down Beat (still a monthly then) said that the 4 Maniacs Of Rhythm were still at the Cuban Room. They were advertised there through November. However, they took some time off to appear at the Kentucky Barbecue on October 26, 28, and 29; the ad named the same four members.

Another appearance on Varieties (December 30, 1939) said "Boyd Kelly and his Maniacs of Rhythm with Julia Lee at the piano". The February 23 Call talked about the February 24, 1940 Varieties:

Boyd Kelly And His Maniacs, starring Julia and a swing quartet will be featured Saturday afternoon on the Vine Street Varieties program.

The entire band will play "In The Mood", and the swing quartet will "go to town" with "Cherokee", "Dark Eyes", and "I'll Always Be In Love With You".

As I said, it's difficult to figure out exactly what Kelly was in charge of. Only when they played the Varieties was there ever a mention of him with a larger band. As another example, when they were back there on March 23, the March 22, 1940 Call said:

With the ever-popular Julia Lee at the piano, Boyd Kelly and his Maniacs, a definitely "hot" band, with plenty of real "wham", will set the rapid pace at which Saturday's Vine Street Varieties show will travel.

Certain members of the band have formed a swing unit and aside from the regular Maniac music, Varieties' fans will hear the "Maniacs Of Rhythm", a rip-snorting quartet of ace musicians and funsters. They will display their idea of what swing really is, and one of the highlights of the afternoon will be their playing of "Wham". [My guess is that it's "Wham Re Bop Boom Bam".]

The last mention of Boyd Kelly and the Maniacs was when they played the Cuban Room again, but the only ad was on April 10, 1940. I don't know if Julia Lee was still with them then, but, if so, it would be her last appearance with the group.

Starting on June 22, 1940, it was "Boyd Kelley [sic] and his 4 Tons Of Swing" appearing at Clair Martin's Brookside Tavern ("Come On Out And Have A Good Time"). This was simply a name change from "4 Maniacs Of Rhythm" to "4 Tons Of Swing", but no reason was given for the switch.

Two of them (Jim Daddy Walker and Clint Weaver) were decidedly heavy; Kelly and Kynard were probably overweight, but not as bad. Here's what their World War 2 registrations gave for their heights and weights: Boyd Kelly (5'11"; 200 pounds), James "Jim Daddy" Walker (5'11"; 296 pounds), Clint Weaver (5'11"; 235 pounds), and B. C. Kynard (5'10"; 192 pounds). Note that these heights and weights were supposed to be the registrar's best guess, but I don't believe that's the way it worked in practice. It's hard enough estimating someone's height and weight when the person is standing, but in this case, the registrant was usually sitting. I'm sure the registrars simply asked.

The June 24 Kansas City Journal had a little blurb titled "4 Tons Of Swing At Brookside Tavern":

Frequenters of the Brookside Tavern are enjoying something different in the way of musical entertainment now that Boyd Kelly and his "Four Tons Of Swing" band are playing there. Clair Martin [a man], proprietor of the Brookside, invites those who enjoy an unusual musical evening to "come out and have a good time" with this band, composed of heavyweights who play hit numbers in an exceptional manner.

All four of them were featured with Blackburn's Municipal Band when it played its first concert of the season on July 14 at the Paseo on Sixteenth Street. The "Four Tones [sic] Of Swing" performed something called "Morning, Noon, And Night In Vienna". What's more, the individual members were listed as being part of the band: Clinton Weaver (bassist), B. C. Rynard [sic] (saxophone), James Walker (trombone [really]), and Boyd Kelly (entertainer).

The July 15, 1940 Down Beat was a bit behind the times: "Boyd Kelley [sic] and his Four Tons Of Swing finally got a break, moving out to Martin's Brookside tavern, now being groomed as a hep-cat rendezvous, with Martin's Plaza slated to continue as a hide-out for ickies." [Using Cab Calloway as my guide, an "icky" is someone who isn't hep to the jive.]

The Tons were with Dan Blackburn again, at the Paseo, on July 28. They performed an unspecified tune from Noble Sissle and Eubie Blake's "Shuffle Along". They were with Blackburn once more on August 11, when they did four numbers as a Duke Ellington medley: "Sophisticated Lady", "Sentimental Mood", "Mood Indigo", and "Solitude". My guess is that they were mostly instrumentals.

The Kansas City Star of August 18, 1940 reported on the show at the Tower Theater. One of the acts was the "Three Maniacs Of Rhythm". Now that "our" group had switched names, the old one had been taken over by a dance trio.

Here's an example of great reporting from the October 1, 1940 Down Beat: "Julia Lee has received an offer to return to the Three Deuces at Chicago as soon as it is rebuilt and the Four Tons Of Swing also have an out-of-town offer."

At least the Chicago Defender of October 5 gave some detail:

Enroute to Columbus for a limited engagement at the Jai Lai Club, Boyd Kelly and his Four Tons Of Swing stopped in the city this week and received the real old Chicago welcome, always accorded visiting musicians.

Kelly, one of the nation's finest guitar players, recently closed a successful engagement at Club Edgewood in Springfield, Ill. In the lineup are James Walker and Boyd Kelly, guitars; Clint Weaver, bass; and B. C. Kynard, saxophone and clarinet.

But that was the last time the 4 Tons Of Swing were mentioned. It looks like Boyd Kelly left in November 1940, and it's probable that B. C. Kynard left around the same time. Soon (May 1941), there'd be the "4 Tons Of Rhythm", but Down Beat, not keeping up with the times, continued to occasionally mention the 4 Tons Of Swing through 1942 and even once in July 1946.

The 4 Tons Of Rhythm were first advertised in May 1941, at the Blue Room in Kansas City. So who were they? We still have Clint Weaver on bass and Jim Daddy Walker on guitar; new members were James Scott and Bill Saunders:

James Walter "Scotty" Scott (rhythm guitar & Hawaiian guitar) replaced Boyd Kelly. He was born on September 29, 1906 in Omaha, Nebraska and died there on February 24, 1976. In the 1930 census, he was called "Walter"; in 1940, it was "Walter J.", and in 1950, he was "James"; in each case, he was a "musician". He and Clint would remain together for the next 15 years or so. His World War 2 registration said he was 6'2" and 223 pounds.

William Tillman "Bill" Saunders (tenor sax and clarinet) replaced B. C. Kynard. He was born on January 11, 1909 in Forrest City, Arkansas and died on March 2, 1993 in Kansas City. He'd been with Count Basie and Benny Moten in the mid-30s; in late 1936, he'd been part of Harlan Leonard's Rockets. In the 1940 census, he was a "musician", but in 1950, he'd given it up and was a "mail clerk". His World War 2 registration said he was 6'2" and 228 pounds.

A blurb in the August 2, 1941 Kansas City Journal gave their weights: James Walter Scott, 225 pounds; William Saunders, 235; Clint Weaver, 250; and James Walker, 300. Add 'em up and you get 1010 pounds of rhythm (but only half a ton).

Showing unusual stability, the above four would be together for eight years, until April 1949. Their first noted appearance was at the Blue Room in Kansas City. An article in the June 13, 1941 Call said that June 15 would be their fourth consecutive Sunday, so they'd started on May 25:

For the fourth consecutive Sunday night, Street's Blue Room presents that quartet of mellow jive, the Four Tons Of Rhythm in another of their inimitable torrid jam sessions. The Rhythmaniacs not only play sizzling and sentimental numbers, but sing, dance, and jive in a manner that never fails to please.

Clinton Weaver thumbs that bass fiddle around with a primitiveness that has proved a solid sender. Bill Saunders doubles on the saxophone and clarinet with a touch of his own, the sweetness of Johnnie Hodges, and the downbeat of the great Chu Berry. Jim Daddy, electric guitarist deluxe successfully mimics the renowned Floyd Smith, but is a rug cutter in his own realm and makes the sensitive instrument fairy talk! Scottie, rhythm guitarist, does the melody-carrying and is oh so good.

The May 30 Call had an article titled "Four Tons Of Rhythm At Street's Blue Room At 12 Midnight Sunday". However, of the six paragraphs, four of them only talked about how great the Blue Room was. The other two said:

Sunday night [June 1] patrons of Street's Blue Room will be given a rare treat, a la Maceo Birch [the club's manager], when that devastating copy-cutting, melody dispensing unit, the Four Tons Of Rhythm begin their inimitable presentation of jive on the stroke of midnight.

The boys will dish out a hotanaciously [sic] arranged potpourri of torrid swing gently interspersed with well-modulated sentimental "senders" that will put you right in the groove and make your feet vibrate with toe-tappy maneuvers.

They'd appear at the Blue Room through November.

On August 3, they were on the R.V.A. (Regular Veterans' Association) radio show (on KITE); their numbers were dedicated to the U.S. Navy.

An ad in the January 2, 1942 Kansas City Star gave you a unique opportunity:

AT LIBERTY - The "Four Tons" Of Rhythm. Just returned from a successful tour of the East. Call Clint Weaver, BE 9433, apt. 17.

However, there had never been an ad for the Tons anywhere but Kansas City in all of 1941.

By January 9, they were playing the Cocktail Hour (3 to 6) at Martin's-On-The-Plaza. On January 24, they appeared at the White House (sorry, it's the one on Wornall Road in Kansas City).

We haven't seen Clint and Jim Daddy on Vine Street Varieties in a while, but the Tons were there on April 25, 1942. It was the last known appearance on that show.

They were still at Martin's-On-The-Plaza at the end of April and, once again, with Dan Blackburn's Municipal Orchestra on August 9, when they played a "boogie-woogie interval". Julia Lee was also there.

By October 26, they'd decided to finally leave Missouri, opening a four-week engagement at the Foxhead Tavern in Cedar Rapids, Iowa. The last ad was on November 15, in which they were called the "Man Mountain Deans Of Music". (Man Mountain Dean was a 310-pound wrestler.)

In November, they signed with GAC (General Artists Corporation) as booking agents. Their manager was said to be Bookie Levin of Chicago.

On November 30, 1942, they opened at the Beachcomber (Omaha) for a week. On December 13, it was two weeks at the Town Theater in Omaha, along with Snub Mosley's band.

From December 28, 1942 to February 9, 1943, they were heard over WSBT (South Bend, Indiana) a few times a week. At the time, they were appearing at the Hotel Oliver in that city.

The May 8, 1943 Billboard said: "Four Tons Of Rhythm staying over again at the Silver Frolics, Chicago.", but nothing said when they'd started. They were still there later that year when this appeared in the October 9 Billboard: "Mills Brothers are figuring on taking one of the Four Tons Of Rhythm, now at the Silver Frolics, Chicago, to replace their corpulent army-bound partner." They were talking about Harry Mills, but he ended up being replaced by Gene Smith of the 4 Notes.

The January 15, 1944 Billboard said that the Tons were being held over in Chicago, but not where. I suppose it could have been the Silver Frolics.

But the blurb was out of date by that time, since, on January 17, the Tons started at Clair Martin's Plaza in Kansas City. The ad showed the first-ever photo of the group. The same photo was used in an April 7 ad for the Casa Loma Ballroom, which also said they'd been at the Silver Frolics for over a year. You'll see why it's surprising later on, but the last time that photo was used was in 1951.

The April 15, 1944 Billboard reviewed their performance at the Silver Cloud in Chicago:

The Four Tons of Rhythm was organized in 1939 [not bad; only a year off for the Maniacs Of Rhythm] by four congenial Negro musicians who added up to 1,000 pounds of religion and rhythm. These men sing spirituals, jive tunes, and novelty versions of popular classics. They play fine swing music, with a real lift and plenty of good solos and possess a jolly, friendly manner.

Group has been playing here nightly for 16 months. [Unless they've confused the Silver Cloud with the Silver Frolics, that's a ridiculous claim. Both were real Chicago clubs] Before that it played 42 weeks at Martin's Plaza in Kansas City.

Clint Weaver, bass player and manager, formerly worked with Count Basie. Johnny [sic] Walker, electric guitarist, came from Lloyd Hunter's crew, while Bill Saunders, tenor man and clarinet, is another who played with Basie and Benny Moten.

The men all sing vocals and harmonize, and with the proper publicity, could give the Ink Spots a run for popular favor.

One of their best comic novelties is a parody on Poor Butterfly which they call Big Fat Butterfly.

Saunders and Walker reveal an exquisite style on improvisations of tunes like Tea For Two and Don't Feel Sorry For Me, the latter a beautiful original melody composed by Scott [the only time fourth member James Walter Scott is mentioned in the review] and Weaver. This band will build business and hold it.

On April 23, 1944, Jim Daddy recorded with the Pete Brown Quartet for Session Records. His guitar led the instrumental "Jim's Idea", with "Pete's Idea" on the flip; they were released in December 1944.

On April 28, they were at the Rip Tide in Calumet City, outside Chicago, on the border between Illinois and Indiana. The April 29 Billboard said the Rip Tide was in Indiana; the May 13 Billboard, reporting them being held over, said it was in Illinois. I'm not taking sides.

The June 3, 1944 Billboard told us that the Tons were going back to the Silver Frolics in Chicago; they'd still be there in early November.

Taking some more time out, on September 14, Jim Daddy Walker (as "Jimmy Walker") was on trombonist J. C. Higginbotham's session for Session Records in Chicago. They recorded "Dear Old Southland", "J. C. Jumps", "Confessin'", and "Sporty Joe", all released in 1945.

The 1944 Billboard Music Yearbook (published in September) had this to say about the Tons:

The Four Tons Of Rhythm live up to their name, since they actually are four fat, funny colored frolickers who are now completing their second year at the Silver Frolics Cafe in Chicago. Clint Weaver leads the group on the bass, with James Walker on guitar, Walter Scott on guard [sic], and Williams [sic; s/b Saunders] on saxophone. All sing and clown and have built up quite a reputation for pleasing the crowds wherever they have played. Managed by Mutual Entertainment Agency.

On November 18, the Tons were back at Martin's-On-The-Plaza for a 10-week engagement.

The December 1, 1944 Down Beat had an article about the group, although it's mostly about Jim Daddy:

James "Jim Daddy" Walker plays great guitar, but harbors a terrific urge to take off on trombone. In fact, he has a trombone which he plays in private. In public, with The Four Tons of Rhythm, his electric guitar stands out as one of the best jazz guitars to come along.

Walker hails from the rhythm center of Kansas City, where he has been associated with all the names of K. C. Jazz. While still a young-one, he handled the banjo chair in Jap Allen's Cotton Club orchestra. This band boasted such well known instrumentalists as Ben Webster, Clyde Hart, and Joe Keyes. Following this connection, Jim joined the Clarence Love Band in Dallas, Texas, on guitar. It was while playing in the Love Band that Jim made the acquaintance of the late Charlie Christian in Oklahoma City. Charlie immediately took to Jim Daddy's style and became a pupil. During after-hour jamming in Oklahoma City joints, Jim showed the younger Charlie his riff structures and style. Shortly after that, John Hammond sent Christian to the Benny Goodman band.

Back in Kansas City, Jim Daddy played in the old Cherry Blossom, where Bill Basie, Joe Turner and Pete Johnson were working. He also did odd jobs with Hot Lips Page and Julia Lee. Walker was on the road with Orlando Roberson in Dallas, Texas when the Count Basie group received the call to the big time. If Walker had been in K. C. at that time, it is very possible he would have had the guitar chair in the new Basie orchestra that was destined for top billing.

Jim Daddy has only recorded on two sides that have been issued to date. These two sides were made for Session Records last summer with the Pete Brown quartet. One side, Jim's Idea, is a Walker original and features plenty of his fine guitar. The quartet was made up of Pete Brown-alto Sax, Jim Daddy Walker-guitar, John Levy-bass, Eddie Nicholson-drums. The two sides are on Session 12-012 (12") Jim's Idea (174b) and Pete's Idea (176). Both sides have fine examples of Walker's electric guitar. Jim recently recorded on another Session date with the J. C. Higginbotham Quartet [sic; should be Quintet]. The records from the Higgy date will be available in the near future.

At the present time Walker is playing electric guitar and arranging for the Four Tons Of Rhythm playing the Silver Frolics on Chicago's west side. The group is essentially a Kansas City outfit and can play some fine blues when the manager of the joint isn't looking. The other members besides Jim are Bill Saunders-clarinet and sax, from Kansas City; Clint Weaver-bass, from Kansas City; and James Walter Scott-straight rhythm guitar and Hawaiian guitar, from Omaha. This quartet has played the Frolics for two years and Jim Daddy's only gripe is that he is tired of playing standing up.

Clint Weaver, the bassman, is a veteran of the George E. Lee orchestra of Kansas City. "The Hot Box" [a Down Beat column] of April 1, 1940 featured a story on a record made for the Meritt label by George E. Lee's novelty singing orchestra. Weaver played bass on this record and gives the remaining personnel as follows: George E. Lee-tenor & leader; Abe Price-drums (cousin of Jesse Price KC drummer now on west coast); Julia Lee-piano; Thurston Maupins-trombone; Clarence Taylor-alto sax: Sam Otterback-trumpet.

The January 27, 1945, Billboard said that the Tons were far from home: the Club Algerian in Denver, Colorado. That was probably an out-of-date listing, since the January 1945 edition of Swing Magazine said they were at Martin's Plaza Tavern. On January 28, they were on a show at K.C.'s Casa Loma Ballroom; they did another one on July 15. On July 27, they began a two-week engagement at K.C.'s Club "30".

In mid-November, 1945, they started at the Club Silhouette in Chicago; they were still there in mid-January, 1946. After that, they returned to Clair Martin's Plaza Tavern, advertised from February through April, at which time they began a two-month stay at Tootie's Mayfair, advertised from May 9 through July 4, 1946 (although ads called him Bill "Sanders" instead of Saunders).

On June 19, they were one of the acts (never heard of any of the others) at the "Food-Esta" (at K.C.s Municipal Auditorium), which had something to do with feeding the world's starving millions. You could also listen to the Joe Louis-Billy Conn fight, broadcast direct from ringside at Yankee Stadium.

In July, it was back to the Silver Frolics in Chicago; they were still there a month later. They then returned to Tootie's Mayfair on September 6, remaining through November 20. Two day's later, they opened at the Chez Paree (K.C.).

Another oddball engagement: the Alibi, in Cumberland, Maryland. The December 15, 1946 Cumberland Sunday Times said the quartet "is reported to play in a manner to remind one of the Ink Spots." They were there through the end of the year. The one ad said they were "Direct From New York And Chicago Nite Clubs", although, as far as I can tell, they'd never been in New York.

You've been waiting almost 10 years for this, and now the 4 Tons Of Rhythm finally got to record. It was for the local Kay Cee Records, a new firm. This is what the February 5, 1947 Variety had to say about the company:

Kay-Cee Records [not hyphenated on the labels], a new label, is being marketed here [Kansas City] by a new firm with John V. Prather as president and general manager. Waxings thus far feature local talent only, including songs by Al Crocker, long-time writer in these parts, vocal-instrumentals by the Four Tons Of Rhythm, orchestra numbers by Ozzie Clark and Dee Peterson aggregations, and vocals by Don Sullivan, KMBC cowboy crooner.

Recordings are being made in K.C., with pressings made at the plant of the Alpra Corp., Emporia, Kans. Alpra has been producing records for some of the more popular labels and it's continuing the outside work. Kay-Cee recordings are being distributed along with Contract Records, a Louisville, Ky., outfit of which Prather is manager. He's also g.m. [general manager] of the Emporia plant.

And here they are: in January 1947, Kay Cee released two records by the Tons, presumably recorded between September and November of the prior year. The first was "The Dog, The Cat And Me" (vocal by Jim (Dandy) [sic] Walker), backed with "I Can't Believe (Your [sic] Still In Love With Me)" (vocal by James Scott). Note that the title of the second side is completely wrong; it's the 1926 standard: "I Can't Believe That You're In Love With Me". Around three years in the future, the top side would be done by Ernie Andrews, on London Records.

The second record was "Don't Feel Sorry For Me", coupled with "Down By The Old Mill Stream". It seems to be incredibly rare; I've never heard either side.

From March 7 to March 30 the Tons were at the Nu-40 Inn in K.C.; the ad said they were "World Famous". The March 3 Down Beat said they were at the Silver Frolics in Chicago. I imagine they'd been there earlier in the year, but DB's listings always seem to be hopelessly out of date.

Then, from April 5-30, they were at the Club Rialto (K.C.) which had a strange "couples only" policy. On April 6, they also appeared at Scott's Theater-Restaurant, in the afternoon, for an "Easter Frolics" show. That night they were at the Municipal Auditorium, along with Ada Brown and the International Sweethearts Of Rhythm.

Recovering from all that, they were back at Tootie's Mayfair, starting on July 1, 1947 and remaining the entire month. And then, they joined an elite group of singers [pause for drum roll]: the ad claimed they were "The World Famous Decca Recording 4 Tons Of Rhythm". They now claimed a place alongside the Rhythm Masters, the Beale Street Boys, Rufus Beacham, Julia Lee, Bobbe Caston, Debbie Andrews, Clarence Samuels, Numa Lee Davis, Baby Dee, and Crown Prince Waterford, all of whom were said to have recorded for Decca, when they hadn't.

Then, on August 5, they were booked into the Vogue Cocktail Lounge (Detroit). This was announced (badly) in the August 5 Detroit Free Press:

Opening Tuesday [that day] at the Vogue Cocktail Lounge will be the Four Tons Of Rhythm. Individual tonnage is Clint Weaver, leader, bass and vocals; Jimmy Walker, electric Spanish guitar and vocals; Bill Scott [s/b Saunders], sax, clarinet and vocals; Walt Saunders [s/b Scott], guitar, Hawaiian steel guitar and vocals.

They were still there when the August 15 Detroit Free Press was published; it still mixed up Bill's and Walt's names.

They were back in K.C. on September 7, when they ("Four Tons Rhythm") were part of the "Jumpin Jive Jamboree" at the Municipal Auditorium. Others on the bill were Julia Lee, the 5 Scamps, Baby Lovett, and Myra Taylor.

On February 3, 1948, they started at the College Inn ("Just A Few Steps From All Downtown Hotels"). On March 5, they began a month at the Folly Burlesk House. The March 19 Call said they'd made history by being held over there for a third week. The March 26 Call upped it to a fourth week and said: "Only a night club engagement in Chicago keeps this combination from remaining at the house for an indefinite period."

As usual, the papers got it wrong. It wasn't Chicago, but the DePhillips Supper Club in Des Moines, Iowa, where they started a three-week run on April 2.

The July 23, 1948 Call told us that Jim Daddy and his Four Tons Of Rhythm were appearing at the Antlers Hotel in Colorado Springs. Not content to report a boring fact, it went on to say that "The Tons expect to head back to Kaycee around Labor Day" and "... popular foursome who have been in a solid groove for more than a score of years..." I don't remember finding the Tons in existence in 1928, nor were they back in K.C. for Labor Day; on September 6, they opened at the Rossonian Lounge in Denver. Considering that papers are just about the only sources I have left, it really hurts to realize how inaccurate their reporting is.

Even after that, they were in no hurry to come home, opening on November 11 at Sansone's in St. Louis for a week.

Finally back in K.C., they were at Tootie's Mayfair for a two-week engagement starting November 18. But after that, they were out of work for a while. This appeared in the December 11 Kansas City Star:

Four Tons Of Rhythm are open for engagements, aft., eves. Clint Weaver, WA 4239, or write 2757 E. 27, Kas. City, Mo.

I guess someone called, since they appeared at K.C.'s Half-A-Hill on January 6, 1949. They were there for at least the rest of the month. Then, it was the Cuban Room (K.C.), opening on Valentine's Day (February 14); the last ad was on April 16.

In April 1949, Julia Lee held three recording sessions for Capitol Records in Kansas City, using KC musicians, two of whom were Jim Daddy and Clint:

April 20, 1949 - Julia Lee (piano), Tommy Douglas (tenor sax), Jim Daddy Walker (guitar), Clint Weaver (bass), Baby Lovett (drums). They recorded "Tonight's The Night", "My Man Stands Out", "Do You Want It?", and "It Comes In Like A Lion".

April 21, 1949 - "Don't Come Too Soon", "Ugly Papa", "Don't Save It Too Long (The Money Song)", and "After Hours Waltz".

April 24, 1949 (without Tommy Douglas) - "You Ain't Got It No More", "When Your Lover Has Gone", "Oh, Chuck It (In A Bucket)", "Decent Woman Blues", and "Draggin' My Heart Around".

And that's the last of James "Jim Daddy" Walker. He had a bad heart, which his weight didn't help, and had been under a doctor's care for months. He died on May 3, 1949, from a heart attack, just a couple of weeks short of his 37th birthday.

By the time the Tons played the Mayfair Lounge in Wichita, Kansas on June 4, Jim Daddy had been replaced (but I'll keep you in suspense for a couple of paragraphs). On June 25, it was the Club Zelmaroda in K.C.; there was only the single ad.

From September 14 to 24, they were advertised at The Cave (under the Hill Hotel), in Omaha. Starting in September 1949, the Tons began having photos in their ads; strangely, they were usually old ones with Jim Daddy. The one that ran with The Cave ad featured head shots from a photo taken by the famed Maurice Of Chicago. Somewhere along the line, while Jim Daddy was still alive, they'd had some photos taken there, but this is the first time one was used.

The Chauffer's Club (Omaha) had a social party on September 24. The small blurb in the September 30 Omaha Star had a photo of the group (and managed to butcher Bill Saunders' name to "Landemn" and Weaver's name to "Weavers"). The new guitarist was Lucky Enois.

Leonard Paul "Lucky" Enois (guitar) was born on May 6, 1918 in Omaha and died on September 14, 1967 in Hennepin, Minnesota. He wasn't a bad fit for the group; his World War 2 registration said he was 5'11" and 205 pounds. He'd been with Jay McShann, the Red Callender Trio, and the Flennoy Trio. Lucky was certainly gone by January 1951, when he had a band that was at the Municipal Auditorium. He'd go on to the Kansas City Tomcats.

From October 1-7, 1949, the Tons were at the Arbor Manor in Lincoln, Nebraska. After that (November 11 - December 31), it was the Zombie Club in K.C. Taking advantage of that new hit recording, the Zombie ad said "More Kicks Than A 'Mule Train'!" They took some time out on November 19 to appear at Berl Berry's Ford Dealership (K. C.) to entertain at the unveiling of the 1950 line of Ford cars.

From January 7-14, 1950, the Tons ("An Aggregation As Of The Mills Brothers - Formerly With Julia Lee") were at Locust Grove in Enid, Oklahoma. The ad also said "Six months at Antlers Hotel, Colorado Springs" (actually it could only have been a few weeks). I'm really getting disappointed with reportage.

They were at the Legion Bisonte Hotel in Hutchinson, Kansas on January 21, 1950, along with Julia Lee. Looks like they were there for a week. On February 1, they appeared at the Triple H Club in Chillicothe, Missouri (I bet you thought the only one was in Ohio; there's also one in Illinois). One of those Maurice Of Chicago photos (with Jim Daddy) was used in the Triple H write-ups and ads, although none had ever been used while Jim Daddy was alive. Additionally, they were at Windmoor Gardens, also in Chillicothe, on February 14 for a Valentine's Day dance.

The Tons were back at Locust Grove, in Enid, Oklahoma, on March 11, while there, they appeared at the Convention Hall, in Pond Creek, Oklahoma on March 13. The photo that ran with the Pond Creek ad showed James Walter Scott, Lucky Enois, Clint Weaver, and Frog Graves, who'd replaced Bill Saunders at some point.

Claiborne Anthony "Frog" Graves (tenor sax and bass clarinet) was born on December 20, 1915 in Los Angeles and died November 29, 1980 in K.C. He'd been with Jay McShann in the 1930s. Frog didn't quite fit in with the group, since his WW2 registration said that he was 5'8" and only 140 pounds. In Nov 1951, he would have a group at the Sterling Club: Frog & His 4 Little Frogs. In May 1956, he returned to L.A. and was with Roy Milton for a while.

On April 28, 1950, the Tons were part of a show at Memorial Hall, called Television On Parade, put on by the Shriners. The ad said "Free! Television Sets", but not what you'd have to do to get one.

For 15 days, starting on June 1, 1950, they were at the NCO Club at the Rapid City (SD) Air Force Base. Weeknights, they played from 8:30 to midnight; weekends from 9:00 to 1:00 AM. Then, from July 9 to August 1, the Tons were at The Cave (under the Hill Hotel) in Omaha.

On July 22, 1950, Julia Lee made some more Kansas City recordings. The odd one is "Scream In The Night". The label gives the personnel as Tommy Douglas (tenor sax), Jim "Daddy" Walker (guitar), Clint Weaver (bass), and Baby Lovett (drums). But that can't be correct; Clint was with the Tons in Omaha and Jim Daddy had died in May of the prior year. The master number on that was 6334; the next number, 6335 ("I Know It's Wrong"), recorded the same day, showed this batch of musicians on the label: Tommy Douglas, Gene Carter, Leonard Johnson, and Bill Nolan. Clearly, Capitol wasn't keeping track of who recorded what.

On seven evenings in September 1950 (3, 5, 8, 10, 12, 14, and 17), the Tons appeared at the Officers' Club at the Rapid City Air Force Base.

On January 27, 1951, you could go to K.C.'s Zombie Club and hear the Lucky Enois Quartet. So the Tons now need another guitarist, but I don't know who it was. Clint and Scotty were still there, as was Frog Graves. Ads were, as usual, no help. It's even possible that, despite the name, they remained as a trio.

On January 31, 1951, the 4 Tons were back at the Cuban Room for a week. On February 11, there was a "Gigantic Band-Wagon Cavalcade" dance/show at the Municipal Auditorium. Ivory Joe Hunter was there, as were the 5 Scamps, Jesse Price (The Mad Drummer), the 4 Tons Of Rhythm, Jimmie Keith's orchestra, Tommy Douglas, and Evelyn Twine, among others, including Lucky Enois and his band.

On February 17, the 4 Tons Of Rhythm started at Locust Grove (Enid, Oklahoma) for three weeks. They presented "The Famous Ice Man Song", whatever that was. March 19 found them at Basil's (Kokomo, Indiana) for an Irish Shindig. Strangely, the ad said "Hoot Mon!", which to me indicates Scots, not Irish (but what do I know?). Even stranger, the ad said they were "Columbia Recording Artists". From April 10 to May 7, they were at the Zebra Room (Green Bay, Wisconsin); The ad featured the 1944 photo with Jim Daddy.

From September 1 to at least the 16th, they were at the Locust Grove Club in Enid, OK. Then, they opened, on September 29, at the Birchwood Supper Club (Omaha) for two weeks. The ad said "Direct From The Vanity Fair Club In Chicago" and "Tons Of Rhythm And Their Dance Band". Starting with the Birchwood engagement, most ads either said "Tons Of Rhythm" or "3 Tons Of Rhythm". This went on through all of 1952.

The November 16, 1951 Call said:

Clint Weaver left Wednesday for Burlington, Iowa, and, guess what - Edward (Sleepy) Hickcox is going with the Four Tons (he will be the "half ton").

So now, they'd hired a piano player.

Edward Haskell "Sleepy" Hickcox ( piano) was born on November 14, 1911 in K.C. and died there on March 12, 1974. Presumably he replaced Frog Graves, who had his own group by December 1951. His WW2 registration showed him to be 5'3" and 137 pounds - somewhat short of a ton. Note that he told the registrar that his middle name was "Sleepy" and even signed the registration form as "Edward Sleepy Hickcox". In the early 40s, he'd been with the Tommy Douglas band and the Winston Williams band (along with Lucky Enois and Charlie Parker). By late 1953, he'd be with the Lucky Enois Quintet and, in the early 1960s, with Baby Lovett & His Dixieland Men.

When they were at the Locust Grove Club (Enid, OK), starting February 16, 1952 for a week, the ad said the "4 Tons Of Rhythm", but the accompanying blurb didn't give a body count. When they played Pete's Club And Cafe (Gallup, New Mexico) on February 28, the ad named the 3 Tons: Clint Weaver (bass), Leroy Harris (sax and clarinet), and James Scott (guitar). So, Sleepy Hickcox's stay was a short one. Was Hickcox still with them when they played Locust Grove? No idea. Had Harris been with them when they played Burlington, Iowa the prior November? No idea.

LeRoy Watts Harris, Jr. (sax and clarinet) was born on February 12, 1916 in St. Louis, where he died on February 16, 2005. His father had been a violinist on Mississippi riverboats. Another member with less than ample tonnage, his WW2 registration said he was 5'4" and 134 pounds. In 1940, LeRoy was one of the vocalists with Earl Hines' orchestra (along with Madeline Greene and Billy Eckstine). In November 1940, those three were referred to as the "Hines Trio". He'd recorded, as one of the "3 Varieties", behind Madeline Greene. In 1943, LeRoy enlisted in the navy and was a Musician Third Class at the Great Lakes Naval Training Center. Discharged from the Navy in 1945, he later joined Wynonie Harris' band. By the time of the 1950 census, he was a musician living in Chicago. He left the Tons around June 1952, and, other than Clint Weaver, he's the last person ever named with the group.

The 3 Tons were supposed to appear at the Italian Village (Lincoln, Nebraska) from May 24-31, 1952, but missed the first day, "owing to transportation", said the Lincoln Journal-Star of the 24th. The ad not only promised you the "Finest Trio you've ever heard", but that they'd made "Many, many recordings". After that, it was the Club Iowa in Nashua, Iowa, starting on June 1. The ad said they consisted of bass, saxophone, and electric guitar.

But that was the end of the Tons Of Rhythm for several years.

After that, Clint Weaver and James Scott teamed up with Julia Lee. They'd be advertised, from July 1952 through March 1956, as "Julia Lee, with Clint and Scotty". The July 13 Kansas City Star said:

CUBAN ROOM - Julia Lee, international favorite, and Clint and Scotty, who formerly were with the Four Tons Of Rhythm, really get the place jumping.

In early July, Julia Lee did some more recording in Kansas City. Both Clint and Scotty were on the session:

July 2, 1952 - Julia Lee (piano), Bob Dougherty (tenor sax), Jimmy Scott (guitar), Clint Weaver (bass), Robert Jordan (drums).

"Can't Get It Off My Mind", "I Got News For You", "Goin' To Chicago Blues", "Last Call (For Alcohol)", "Kansas City Boogie" (aka "Kaycee Boogie"), and "Love In Bloom" (Jack Benny's theme song).

The three would appear at the Cuban Room from August 31, 1952 through January 4, 1953. Strangely, when Julia played Jubilee Village (Jefferson City, Missouri) the night of February 13, 1953, she was advertised as "Julia Lee Plus The Four Tons Of Rhythm", but only Clint & Scotty are known.

She was back at the Cuban Room with Clint & Scotty on February 21, 1953 and stayed for the rest of the year (and all of 1954).

The January 14, 1955 Call was less than helpful: "Julia Lee, Clint and Scotty have pulled up stakes at the Cuban Room and have moved down to Joplin, Mo., for an indefinite run." Even when they'd been held over, the January 21 Call refused to say where.

But they were back at the Cuban Room on February 7, 1955 and stayed for the rest of the year. They continued to be advertised at the Cuban Room up to March 9, 1956.

After that, the trio broke up. Clint and Scotty would never again be advertised with Julia Lee, or even together.

On April 22, 1956 Clint Weaver and His Tons Of Rhythm appeared at K.C.'s Pla-Mor Ballroom. For the rest of 1956, ads were for the 3 Tons Of Rhythm, but no names were given (other than Clint's, no names would ever be given again).

On August 31 and September 1, the 3 Tons were at the Non-Commissioned Officers Mess at the Rapid City (South Dakota) Air Force Base. On September 5, they appeared at the Flamingo Club in Sioux Falls, South Dakota. Next, it was the NCO Mess at Offutt Air Force Base in Omaha, performing daily from October 1-7, 1956.

By the time Clint appeared at Jim's Place (Malta Bend, Missouri) on April 27, 1957, it was back to the 4 Tons Of Rhythm (not further identified). Ads from June through November (when they were at the Airlane in Chillicothe, MO) were all for the 4 Tons.

Remember our old friend Bill Saunders (saxophone and clarinet)? The October 3, 1958 Kansas City Star had an ad for Joseph's Restaurant And Lounge, which featured the Bill Saunders Trio, "formerly with the 4 Tons Of Rhythm". Maybe the paper got it wrong ("Is that even possible, Daddy?"), but a little write-up for Joseph's on February 7, 1960 said this about Joseph's:

Dancing is Friday and Saturday nights to the music of the Bill Saunders trio, formerly the "4 Tons Of Rhythm".

[In November 1960, the ad said that the Trio had been at Joseph's for 109 weeks; after that, they stopped counting.]

On Saturday, June 18 and Saturday, July 23, 1960, the 4 Tons Of Rhythm, whoever they might have been, were back at the Airlane Ballroom in Chillicothe, Missouri.

On March 17, 1961, they were at a St. Patrick's Day dance at the Eldridge Hotel in Lawrence, Kansas. On May 13, they played for a dance at Jim's Place in Malta Bend, MO. New Year's Eve 1961 found them at the Ward Parkway Country Club in K.C.

On November 1, 1966, saxophonist B. C. Kynard, of the 4 Maniacs Of Rhythm and 4 Tons Of Swing, died of a stroke, in K.C. He'd still been playing a couple of nights before his death, although he'd been a mailman since 1950.

The 4 Tons played at a 1966 New Year's Eve party at the Bellevue Country Club in Atchison, Kansas. They'd be back, same time, the following year.

Leonard "Lucky" Enois died on September 14, 1967 in Hennepin, Minnesota. There was no obituary.

Nothing at all in 1968.

The last ever ad for Clint Weaver and the Tons Of Rhythm was when they played the Elks in Atchison, Kansas, on October 11, 1969.

Nothing good from here on.

Clint Weaver died on May 13, 1973 in K.C. He'd been in a nursing home.

Edward "Sleepy" Hickcox died on March 12, 1974 in K.C.

James Walter "Scotty" Scott died on February 24, 1976 in Omaha.

Claiborne "Frog" Graves died on November 29, 1980 in K.C.

Boyd Kelly died on August 21, 1981 in Chicago. There was no obituary.

Bill Saunders died on March 2, 1993 in K.C. His obituary listed lots of aggregations he'd played with: Benny Moten, Bus Moten, Sam Johnson, Tommy Douglas, George E. Lee, the Ben Kynard Flute Group (B. C.'s brother), and even the 4 Tons Of Rhythm.

LeRoy Harris died on February 16, 2005, in St. Louis (of complications from the flu).

The 4 Tons Of Rhythm were a very popular group for a long time. Sadly, their recorded output was minimal.


KAY CEE (Four Tons Of Rhythm)
3001 The Dog, The Cat And Me (JW) / I Can't Believe (Your Still In Love With Me) (JS) - 1/47
            Title should be "I Can't Believe That You're In Love With Me".
3002 Don't Feel Sorry For Me / Down By The Old Mill Stream - 1/47

LEADS:
            JW = Jim Daddy Walker (label calls him "Jim Dandy Walker"; JS = James Walter Scott