Jimmy Grissom
By Marv Goldberg
© 2024 by Marv Goldberg
Jimmy Grissom was the possessor of a wonderful voice, good enough for Duke Ellington to employ him as a vocalist for seven years. Aside from being a vocalist, he's also occasionally credited with being a drummer.
In my Hollywood 4 Blazes article, I wrote:
Mention should be made of vocalist Jimmy Grissom, dubbed [in a single blurb] the "Sepia Sinatra". One of the most shadowy people I've ever tried to research, he was called Dan [Grissom]'s nephew in a May 1947 blurb, which also said he was 17 (although two others said he was 19). To be Dan's nephew, he'd have to be the child of one of Dan's siblings (Alma, Katie Ernestine, or Thelma). Katie Ernestine had two children, both of whom were far too young, and Thelma's children, if any, would also be too young. (Thelma Grissom was another singer, part of Fletcher Henderson's Rhythm Debs in the early 1940s, along with Dolores Parker and Della Bright.) That leaves Alma's son, Obie V. Scott, who was born around 1928, making him around the right age. Obie was in two censuses (both in the same household as uncle Dan) and then completely disappeared. Could he have changed his name to "Jimmy Grissom"? I couldn't find an actual birthdate for either one. The one thing that struck me was that Jimmy Grissom seems never to have existed outside of the music world. Other than 1947 blurbs giving his age and his relation to Dan Grissom, nothing personal was ever published about him. Beats me. Wait, wait - I found an obituary printed in the February 13, 1975 Jet: "Born Obie Vernon Scott in Leland, Miss., Grissom moved to Los Angeles at the age of 12 after his mother died. [Alma died in April 1939.] He lived with his uncle, the late Dan Grissom, who was a vocalist with the Jimmie Lunceford Band, One of his aunts, Mrs. Thelma Grissom Jackson, sang with the Fletcher Henderson Band. Following in the footsteps of his relatives, Grissom [they meant "Scott"] changed his name and started his own combo." So, for those of you who keep track of these things: Obie Vernon Scott was born on April 10, 1928 in Leland, Mississippi and died on January 18, 1975 in Chicago. (Now you know something your friends don't. Sometimes, the Internet is actually good for something!)
Sounds good, but I was wrong. Not totally, but wrong. His name wasn't "Obie Vernon Scott" (as you will now see all over the Internet), but "Obbie Vernal Scott". There was an interview in the February 11, 1953 Down Beat (which you can read below) in which he gave that name. More important, he signed his 1946 Draft Registration that way.
So, to recap, the singer who would become "Jimmy Grissom" was born on April 10, 1928, in Leland, Mississippi, as Obbie Vernal Scott.
His mother was Alma Rosa Grissom and his father, per his Chicago death record, was Jessie Scott. (There are no marriage records that I have access to and they never show up anywhere together, so I really can't say if they were married.) In 1930, the only Jessie Scott in Leland was a chauffeur living with his cousins; he said he was married, but there was no wife around. Alma wasn't in the 1930 census at all.
It was a musical family. His uncle was Dan Henry Grissom, who'd become famous for singing with the Jimmie Lunceford Orchestra (he also played the sax), the Flennoy Trio, and the Hollywood 4 Blazes. His aunt, Thelma Grissom, sang with Fletcher Henderson's band as part of the Rhythm Debs (with Della Bright and Dolores Parker) in the late 1930s and early 1940s. Unfortunately, the only photo of the Rhythm Debs doesn't say who's who.
In the 1930 census, "Obie V. Scott" was living with the Grissom family: his grandparents (John and Rosetta), uncle Dan, aunt Thelma, and aunt Ernestine. As well as spelling his name incorrectly, they got his age slightly wrong. It says 2 years and 0 months, but it should be 1 year and 11 months. (I know, picky, picky.) Mother Alma was nowhere in sight.
The first time he made the papers was in the April 22, 1939 Chicago Defender (National Edition), which reported on the passing of Dan Grissom's sister, Obbie's mother. Dan was so famous at this point that they consistently misspelled the family name:
Dan Grisson Loses Sister In Southland.
LELAND, Miss., April 21 - Mrs. Alma Rosa Grisson Scott, sister of Dan Grisson, a member of Jimmy [sic] Lunceford's famous orchestra, was buried here after impressive rites were held at St. James A.M.E. church. Survivals besides Dan are her son, Obie Scott; a sister, Mrs. Ernestine Smith of Chicago, and another sister of this city.
This really is a low in reporting. Not only do they misspell the name, but they don't even name Thelma, just calling her "another sister". Since his mother is "Alma Scott", I suppose it's possible that she and Jessie Scott had been married at some point.
But then, we come to the 1940 census in Leland; make of it what you will. Once again, we have John and Rosetta Grissom and their grandson, Obie Scott. Other than his name being spelled wrong, no problem so far. Also there is uncle Dan Grissom, a "musician - orchestra"; however, Dan is also in the census in New York ("musician - dance orchestra"). Then there's aunt Thelma who's now married to someone named Ernest Scott (I think the "Scott" last names are a coincidence, but it's not worth investigating). But surprise, surprise: back with us is Alma Grissom, daughter of John and Rosetta. It says she's married (no husband around), but makes no mention of her being dead.
The June 17, 1944 Chicago Defender (National Edition), which seemed to have a small column about doings in Leland, Mississippi, talked about a party being thrown for the graduates of Brossch Junior High School. One of the guests (not listed as a graduate) was Obbie Scott. At least they got his name right.
When he registered with the draft, on April 12, 1946, the name he gave the registrar was "Obbie Scott", and he signed as Obbie Vernal Scott. At the time, he was working for the Cooper Screw Manufacturing Company in Los Angeles. So, by this time, he'd joined uncle Dan in L.A. (Many sources say that he went to live with Uncle Dan right after his mother's death, but we've already seen that he was in Leland in 1940, while Dan was in New York. Also, I'm assuming that he was invited to that 1944 party because he was still living in Leland. He, himself, later said he'd moved to L.A. "around 1945".)
But once he got to California, he dropped "Scott" in favor of the "Grissom" family name. Nothing ever said where the "Jimmy" came from".
And then, his life of crime. The Atwater (California) Signal of November 29, 1946 had this: "Traffic cases in Police Court this week included on November 21st, James Grissom of Los Angeles, who was fined $10 for speeding, 510-511 section, and 529 violation by passing on the left." OK, so it's not Al Capone, but traffic laws are traffic laws.
After never having a single noted appearance, the April 3, 1947 California Eagle had a blurb titled "Jimmie Grissom Cuts New Disc". The title implies, although not definitely, that readers would have known who he was. Note that, over the years, it would be spelled "Jimmie" and "Jimmy", both in columns and on record labels. The blurb read:
Jimmie Grissom, 19-year-old nephew of Dan Grissom, who has an unusually new style of vocal presentation, signed a contract this week with Miltone Records for five years.
The first release of this young artist is scheduled to hit the market next week. Grissom is now preparing two sides, "Welcome Home Baby" and "Three Little Bears". The musical background on this record will be by "The Big Three" (the old Roy Milton band).
They were quick to amend that the following week (April 10):
Through an unforeseen error [it's good to know they have foreseen errors], it was reported in this newspaper last week that Jimmie Grissom, vocalist, would be backed in recordings for Miltone Records by "The Big Three", which, our story said, was the old Roy Milton band.
Ben C. Waller, manager of the Milton band, denied that the "Big Three" were the Roy Milton band and made the correction that they were formerly of the Roy Milton band.
Of course, naming them would have used up too much ink. The musicians they were referring to were Dave Robinson (bass), Caughey Roberts (alto sax), and Lorenzo "Buddy" Floyd (tenor sax).
Miltone Records was owned by bandleader/drummer Roy Milton, Ben Waller, and Forrest "War" Perkins. Labels featured the wonderful drawings of William Alexander. However, I have to complain that, drawings aside, Alexander's labels are a confusing mess. It's sometimes difficult to figure out exactly who's doing what in the song.
The May 1, 1947 California Eagle mentioned Jimmy's new record, "Comin' [sic] On With The Blues" and "Three O'Clock In The Morning", done with Floyd Ray, the Blenders, and the Miltones. The same paper, in Jessie Mae Brown's column, had this:
It was my pleasure to attend the recording session of the Mel Tone [sic] Company last Sunday morning [April 27], out at Universal Studio. Believe me, the session was very good. Enjoyed listening to young Jimmy Grissom, nephew to Dan Grissom, make the new recording of "Three O'Clock In The Morning", with the Floyd Ray orchestra. Another recording that sounds like a "hit parade number" to yours truly is Jimmy's rendition of "Lonesome Playboy".
I don't really understand that. "3 O'Clock In The Morning" is unison singing by the "Miltones". If Jimmy's voice is in there (and it probably is), he's only part of the group and can't be heard separately. "Lonesome Playboy" was an unreleased tune.
But it's difficult to reconcile the articles with the releases themselves. As far as I can determine, these three Miltone records all came out in May 1947:
202 Do As I Say / [When I Grow Too Old To Dream - voc: Roy Milton] - 5/47
Above as by Jimmy Grissom, Teenage Vocalist
212 I'll Miss You / Frank Bull's Boogie (I) - 5/47
"I'll Miss You" is by Big 3 Original Solid Senders, vocal by Jimmie Grissom.
"Frank Bull's Boogie" is credited to Jimmie Grissom & Blenders (it's an instrumental; as we'll see next month, he's the drummer)
213 Commin On With The Blues / 3 O'Clock In The Morning - 5/47
Note the spelling of "Commin". That side is by Floyd Ray & Blenders, vocal by Jimmie Grissom & the Miltones.
"3 O'Clock In The Morning" says Floyd Ray & Blenders, vocal by the Miltones, no separate mention of Jimmie.
Finally, an appearance. The May 15, 1947 California Eagle said: "Jimmy Grissom, the fella who knows how tonsil ticklin' should be done, is booked to open at the Downbeat with a new combo." As with Downbeat clubs all over the country, the Los Angeles one could be spelled either as "Downbeat" or "Down Beat".
According to the May 22 Eagle, Jimmy was due to autograph his records on May 30:
Jimmie Grissom, former student of the Jefferson High school, who by popular demand of his latest recordings featured with the famous group known as the Blenders (a portion of the old Roy Milton Band) is now the star singing artist on the Miltone label and will make his first public record autographing appearance at the Ideal Record and Appliance Shop, 5014 South Avalon Boulevard, Los Angeles, California, on Friday, May 30 and Saturday May 31, between the hours of 2 p.m. and 6 p.m.
Jimmie's inspiration and coaching came through the enthusiastic efforts of his uncle, Dan Grissom, former singing artist of Jimmie Lunceford's orchestra. Jimmie is now appearing nightly at 4201 South Central Avenue, at the popular Down Beat night spot. His record "DO AS I SAY" has met with universally increased demand. [Dan Grissom was with Jimmie Lunceford from 1935 until mid-1943; it would be referenced for the rest of his life.]
To all those who purchase an autographed record of Jimmy Grissom [notice they've switched the spelling], the Ideal Appliance will give a record by a popular artist [presumably one that isn't selling].
But, after that horrendously-written blurb, he didn't show up on that date. The May 29 Eagle had this:
Jimmie Grissom youthful bobby sox sensation scheduled to appear at the Ideal Record Co. 5014 Avalon Blvd on May 30 and 31 to autograph records will not appear due to the holidays [Decoration Day for you old-timers].
Ideal announced however that young Grissom would appear on June 6 and 7 of the following week. With each autographed record purchased Ideal will give one record of a popular artist free of charge. [I guess they'd run out of commas.]
The May 24, Pittsburgh Courier printed a photo of Jimmy with this caption:
Jimmy Grissom, 17-year-old crooner and nephew of the famed Dan Grissom, is attending prep school, and is under contract to Miltone Records and already has several song hits to his credit. [For 5 points, name one of them!]. His song stylist [sic] is similar to his uncle's, who gained international fame with Jimmy Lunceford's orchestra. [Note that a former article said he had "an unusually new style of vocal presentation". That's very common. All upcoming singers that the writer likes have a new and different style. At least the Courier was being honest (and had laid in a supply of commas). This is the only mention of prep school.]
On May 26, the Blenders ("six-piece combination, featuring young Jimmy Grissom") entertained at an Alpha Phi Alpha fraternity function at Jefferson High School.
The June 5 Eagle said: "Little Jimmy Grissom's singing added much to the benefit program featured by Les Dames last Sunday afternoon [June 1]. So happens that LeRoy Beavers has been acting as public relations man for the Mel Tone [sic] company that handles Jimmy's records, and he seems to be sure Jimmy will become one of the most popular singers yet."
Another confusing Miltone release. In June, they issued "It's Been So Long", backed with "Answer To R.M. Blues". Both sides say Jimmie Grissom and the Blenders - vocal by Effie Smith; featuring T.B. Watson on piano". Effie Smith really is doing vocals on both songs; Jimmy is the Blenders' drummer.
The record was reviewed in the June 23, 1947 Cash Box:
Picking up the strains of a clickeroo of last year [Roy Milton's "R. M. Blues", on Juke Box, from early 1946], the Jimmie Grissom ork step out to do "Answer to RM Blues", and the way the boys do it, spell coin play for those race locations just waiting for a coin culler. Chirp Effie Smith renders the lyrics in tricky fashion, as she warbles her fable all about the love that is gone. Mood is slow and low down, and ops who have spots that go for this brand would do well with the side. On the flip with more race stuff with a cupid angle, Effie once again shows her tonsils to good advantage doing "It's Been So Long". Background music provided flavors the pair greatly. Ops should, by all means, lend an ear in this direction.
Finally, we learn who the Blenders are. The June 7, 1947 Pittsburg Courier had an article titled "Blenders OK In Los Angeles":
"The Blenders", rhythmic new six-piece combo has opened for a month's stand at the Downbeat cafe.
Composed of a trio of the former powerhouse members of Roy Milton's orchestra - Dave Robinson, bass; Caughey Roberts, alto sax; [Lorenzo] Buddy Floyd, tenor sax - the balance of the aggregation is Bill Austin, piano; Jimmy Grissoms [sic], drums and vocals; and Teddy Buckner, sax.
Grissom, the nephew of the famed Dan, appears to be a natural and bids fair to hit the top of the heap within the year.
The Blenders have waxed several numbers under the Miltone label and are already being eyed by Music Corporation Of America.
By July, the Blenders were at Club Alabam, where, on July 13, they engaged in a "battle" with the Poison Gardner Quintette.
By mid-August, the Blenders had switched back to the Downbeat Cafe. The Pittsburgh Courier of August 23 said:
By popular demand, the Blenders, classic six-piece combo featuring the vocals of Jimmy Grissom and the Big Three rhythm section, returned last week for a month's engagement at the Downbeat Cafe, popular Eastside lounge.
Since leaving the cafe several weeks ago, the group has played week-ends at Club Alabam and played a series of one-nighters.
They waxed "Big Fine Mamma" [sic; should be "Big Fine Baby"], "Too Bad", and "My Buddy", under the Miltone label which will be released early in September.
"Too Bad", backed with "Big Fine Baby" were issue in September as by "The Blenders - vocal by Jimmie Grissom".
On October 13, the Blenders were one of the acts at the Musicians' Relief Ball, held at Meadowbrook Gardens in Culver City. Others performing were the Harry James Orchestra, the Mills Brothers, Johnny Moore's 3 Blazers, Joe Liggins & the Honeydrippers, and Johnny Otis' orchestra.
Also in October, Miltone released two more records. The first was "Welcome Home Baby" by Jimmie Grissom, backed with "Get Out" by "Maxwell Davis & His Blenders - vocal by Jimmie Grissom". The second was "Whispering Grass", coupled with "Ice Cold Love", both by "the Blenders - vocal by Jimmie Grissom".
In December, Miltone issued "Christmas Brings Me Down", paired with "Having Trouble With My Dreams", both credited to "the Blenders - vocal by Jimmie Grissom".
I'll stick this here, because I can't precisely date it: sometime in 1948, Miltone reissued "Big Fine Baby", with "You Gonna Get It In The End", by Lawrence (Batty) Battiste, as the flip. That side was Miltone 700, but Jimmy's used the same label (224) as the original release.
On February 10, 1948 the Junior League of West View Hospital presented an "Evening Of Fun And Frolic" at the Cricket Club. Appearing were Peg Leg Bates, Dan Grissom, Lorenzo Flennoy, Maggie Hathaway, Mabel Scott, Vivian Green, and Jimmy Grissom, along with the 4 Cheers. (An October 30, 1947 ad said that the 4 Cheers were formerly with Roy Milton. They'll be back.)
A couple of Miltone masters were issued on the Swing Time label in March 1948: "Do As I Say" and "Answer To R.M. Blues". I haven't seen the labels, so I don't know how these were credited.
By late July, Jimmy was at the Melodee Club. As the July 29, 1948 Los Angeles Daily News put it (in their own inimitable fashion):
At the MELODEE CLUB (corner Slauson & Van Ness) it's NELLIE LUTCHER for only two weeks, last current LUTCHER date, so go on out. Also on the show are Jimmy Grissom, "the Cheers" of song and dance fame & "The King of the Jump Blues", Jimmy Witherspoone [sic]. An amazing show, don't miss NELLIE LUTCHER at the MELODEE CLUB.
The August 12 Los Angeles Southwest Wave had this:
MORRIE GLICK still "piling 'em in" with JIMMY WITHERSPOON, ROCKY ROBINSON and his "Four Cheers", who feature that sensational youngster, JIMMY GRISSOM, and other top notch acts - and is bringing that terrific little "bundle of dynamite" MISS CORNSHUCKS, all the way from New York for a limited engagement, starting next Tuesday [August 17].
By the end of August, the Treniers were at the Melodee Club. It looks like Rocky Robinson's Four Cheers, with Jimmy Grissom, would be leaving right before that. I don't know who Rocky Robinson was; his name is only associated with the Cheers.
In early December, Modern Records released "Pretty Mama Boogie", backed by "It's Better This Way", attributed to Jimmy Grissom & Orchestra. They were reviewed in the December 11 Cash Box:
The strong ballading of piper Jimmy Grissom and some mellow wax ops can get with. Topside, "It's Better This Way", makes you stop and pay attention. Jimmy's rich tones of pure beautiful vocal magic ring true through the disking. It's slow ballad material that is sure to find its way into a zillion machines. Lyrics ring around the title, with their deep meaning being echoed by Jimmy in first rate fashion. On the flip with "Pretty Mama Boogie", Jimmy switches to some hot and holler with the title of the tune giving off the bill of fare. Topside for a barrel-full of moola.
1949 started with a Jimmy Grissom release on M-G-M: "California Blues", coupled with "Your Footsteps 'Round My Door". They were reviewed in the January 15 Cash Box and the January 29 Billboard:
CB: The vocal spooning of piper Jimmy Grissom and the set up of "Your Footsteps 'Round My Door" and "California Blues". It's real strong blues that Jimmy offers, and great stuff it is too. Jimmy's torrid tones are shown to excellent advantage on the pair, which should find a featured spot on many a machine. Both sides spill in slow tempo, with adequate lyrics and fair orchestral patter rounding out the wax. Ops take note. [Translation: they loved his singing; the lyrics were so-so; the orchestration no better than that.]
California Blues (BB; 57): No force or conviction in this blues performance, with a too slick and ordered backing.
Your Footsteps 'Round My Door (BB; 67): Warbler does a great deal better with this side, showing himself at home with ballad material.
March 13 1949 found Jimmy "and his four cheers" appearing at a benefit, sponsored by the Woman's Campaign Auxiliary, at Jefferson High. Also on the bill were Count Basie, Jimmy Rushing, Art Tatum, Roy Milton, Marie Bryant, and Stump & Stumpy.
Rocky Robinson's 4 Cheers, featuring Jimmy Grissom, were at the Last Word for the two weeks beginning March 31, 1949. Held over, they were still appearing a month later. However, it was the last time his name would be associated with the Cheers (who were never otherwise identified).
Sometime in late February or early March, Jimmy had another session for Modern, backed up by the Buddy Floyd Orchestra. The tunes were: "They Call It The Blues", "Can't Be Bothered With Love", "Just Got Back", and "Rocky Mountain Blues". The first two were released in March, the second two in April, but neither disc was reviewed.
On May 11, 1949, Jimmy married Nadja Elise House in Yuma, Arizona. She was born in New York, but raised by her grandmother in Los Angeles. They divorced at some point in the late 1950s and Nadja remarried before 1962.
In June, there was another release on M-G-M: "In The Middle Of The Night", backed with "I Send My Regrets" (as by "Jimmie Grissom"). They were reviewed in the June 18, 1949 editions of both Cash Box and Billboard:
CB: Pair of smooth sides by balladeer Jimmie Grissom, and the set-up of "I Send My Regrets" and "In The Middle Of The Night" [that sentence makes no sense]. Both sides, in the ballad vein, show Jimmy's smooth, heavy tonsils to great advantage. Jimmy's sincere vocal etching of this pair should merit him some heavy juke box play. Top deck ["Regrets"] is a slow, teeming [sic] item, while the flip keeps the same tempo and is done up in the blues vein. Both sides should win favor.
In The Middle Of The Night (BB; 61): Weak lyric set to a pleasant melody dampens what would have been a pleasant ballad effort.
I Send My Regrets (BB; 56): Not much to worry about here.
One more Jimmie Grissom release on M-G-M, in July: "Haunted", backed with "Bring Your Lovin' Back To Me". They were reviewed in the August 8, 1949 Cash Box and the August 13 Billboard:
CB: Jimmie Grissom comes up with a tune that holds loads of winning possibilities in this offering of "Haunted". The song, a deeply touching ballad shows Jimmie's crystal clear strong vocal efforts to excellent light. Good musical background adds to the wax incentive found here. On the flip with "Bring Your Lovin' Back To Me", Jimmie turns in an admirable performance on a fair blues ballad. We go for the top deck - we're sure you will too.
Haunted (BB; 71): Grissom gets a little of the Eckstine sound as he turns in a creditable side.
Bring Your Lovin' Back To Me (BB; 66): Not up to the topside.
In the 1950 census, Jimmy Grissom was in Los Angeles with wife, Nadja. He was a "Vocalist - Night Club Entertainment" and had worked 39 hours the prior week.
There was another Swing Time release around April 1950, once again old Miltone masters, although these hadn't previously been released. "Hung Out" and "The Adam's Bop Hop" had been done with Maxwell Davis at the "Get Out" Miltone session
On May 31, Jimmy appeared at a Police Club benefit at the American Legion Hall. At this time, he was the vocalist (along with Geraldine Carter) with Theodore Shirley's band.
A blurb in the June 3, 1950 Billboard announced that Ivin Ballen's Philadelphia-based Gotham Records had purchased around 300 Miltone masters. Around October they reissued 1947's "Christmas Brings Me Down", backed with "I'm Having Trouble With My Dreams". It would be Jimmy's only appearance on Gotham.
But that's OK, because November saw his first release on John Dolphin's Recorded In Hollywood label: Jessie Mae Robinson's "Once There Lived A Fool", coupled with "I'll Still Keep Loving You". This would become Jimmy's only big hit, entering Billboard's national charts on February 24, 1951 and reaching #7 in its 5-week run. It was a big enough hit to be covered by Savannah Churchill, Charles Brown, Big John Greer, Anita O'Day, Jimmy Witherspoon, Allen Green, Dusty Brooks & His Tones, Tommy Edwards, the Billy Valentine Trio, and Tony Bennett. Jimmy's version has some very nice sax work.
The December 21, California Eagle said: "Jimmy Grissom heads a star-studded array of talent which will entertain at the annual Christmas Day dinner given for underprivileged kiddies at Jack's Basket Room."
Speaking of John Dolphin, the January 27, 1951 Billboard noted that he had opened his new record store the week before. Present at the opening was Red Callender, Lee Graves (Johnny Otis' trumpeter), actor Rex Ingram, and, of course, Jimmy Grissom.
The February 1, 1951 California Eagle had a column called "Top Ten Records Of The Week". Number one on the list was "Daddy's Baby" by Jimmy Grissom on Hollywood (by which I'm sure they meant Recorded In Hollywood). The only slight problem is that Jimmy Grissom never released a song by that name (or even close). Beats me.
Jimmy's next Recorded In Hollywood release was "Once In Love Blues", paired with "I Lost My Inspiration". By "Jimmy Grissom and the Red Callender Sextette", it was first advertised as "coming soon" in the February 3, 1951 trades. On that same date, Billboard finally got around to reviewing "Once There Lived A Fool":
Once There Lived A Fool (86): This is the original disking of this very strong blues ballad and looks like a big one. Grissom does a penetrating sympathetic job with it.
I'll Still Keep Loving You (70): Warbler turns in another prime job, but entry is not up to flip.
The February 24, 1951 Cash Box gave "Once In Love Blues" its Award O' The Week:
Jimmy Grissom, currently blazing with "Once There Lived A Fool", strikes gold again with "Once In Love Blues". This boy can certainly sing a song, and as ops know, who have cleaned up with his first record, there are loads of customers who like putting those coins into the machines to hear him. They have quite something to hear here. This is a crying blues number in which he gets across all the anguish the side calls for and a little more. The Red Callender sextette provide a wonderful setting and assure Jimmy's getting the kind of musical backing he deserves. No op oughta pass this one up. The lower end is another blues number again with a grand vocal from Jimmy. The top deck, though, is the must side. It's money in the bank for ops.
And this is what the March 31 Billboard had to say:
Once In Love Blues (83): Grissom sings a standard slow blues item with his usual feeling. A strong hunk of wax.
I Lost My Inspiration (78): A new Jessie Mae Robinson love ballad is ably chanted by Grissom with okay Callender group backing.
In March 1951, Jimmy joined the cast of "Hollywood Revue", a traveling show that also had Little Willie Littlefield, Mickey Champion, Baby Davis, Smokey Lynn, and Maurice Simon's Orchestra (which would be replaced by Jimmy McCracklin's Blues Blasters). In early March, it played venues in Fresno, Oakland, and San Francisco before opening at Jack's Basket Room (Los Angeles) in late March.
The April 28 Billboard reviewed the March 31 performance at Jack's. Here's the entire review:
This Central Avenue late-hour club really rocks. Show is built around a trio of blues shouters, all of whom leave the audience cheering in response to the solid blues and ear-splitting jazz tempi [plural of "tempo" for you non-musicians].
Mickey Champion, possessing a Dinah Washington-like quality, took command early. Only five feet tall, the gal makes up in know-how and talent for what she lacks in height. Crooner Jimmy Crissom [sic] tried to stick to ballads, but was egged on to rhythmic jump tunes. Lad pulled well with If and Once There Lived A Fool. Smoky Lynn, a fave here, mixed well combining gutty vocals with jive steps to solid results.
When vocal offerings weren't holding the spotlight, it was the jump and instrumental work of Maurice Simon's ork (7) [that is, 7 musicians] featuring on sax Jack (Open The Door, Richard) McVey [sic].
Sometime in April, Recorded In Hollywood released "Walkin' Blues", backed with "The Hole In The Wall". They weren't reviewed.
The Hollywood Revue actually did go on tour, playing the Up-To-Daters Club (Oklahoma City) on June 27-28, the Handy Theater (Memphis) on July 6-8, Riverside Park (Phoenix) on July 19. These were, however, the only mentions of the show outside California.
In July Federal Records purchased and released two of the Recorded In Hollywood tunes: "Once In Love Blues" and "I'll Still Keep Loving You". The label credits were the same as on the original releases.
Jimmy was back at the Up-To-Daters Club in Oklahoma City on August 31, along with Larry Darnell, Chubby Newsom, Roy Hawkins, Paul Gayten, Pee Wee Parham, and Freddie Jackson. The local Black Dispatch raved about it: "This is undoubtedly the greatest of all attractions to play the Up-To-Daters or any other local club and the admission is surprisingly lower than to be expected for SO MUCH, for SO LONG, and SO GOOD. Only $1.50 for SIX STARS, THREE BANDS, SIX SHOWS and it's ALL NITE LONG from 9 p.m. 'til 5 a.m., Friday nite Aug. 31. You'll love it all, especially Chubby."
And now, a big change was coming to Jimmy Grissom's life: in December 1951, he was hired as Duke Ellington's male vocalist, an association that would last for many years. His first known appearance with the Duke was on January 5, 1952, in a concert at the Metropolitan Opera House in New York, singing "Blues At Sundown". It looks like Duke was trying out Lloyd Oldham, who recorded a nice version of "Blues At Sundown" with him on a December 11, 1951 Columbia session, but I guess it didn't work out.
[The way I'll tell this story from this point will be somewhat different for a while. Duke Ellington was one of the most popular bands around - with music critics as well as with audiences. They were constantly appearing all over the country; I won't be documenting very much of that. They were constantly recording; I think I've figured out most of the songs Jimmy was on, but for the most part, I'll only bother with those done for record companies (there were many live recordings at shows). However, there was a catch: because Ellington's band was so popular, a lot of reviewers disliked when a vocalist came onstage to break up the instrumentals. Ellington's other male singer was trumpeter/violinist Ray Nance, who did most of the up-tempo numbers. Nance would remain with Ellington from late 1940 through the mid-1960s. Prior to that, he was with the Bits Of Rhythm. In 1939, he married singer Melrose Colbert.]
The March 1, 1952 Los Angeles Daily News, reviewed an Ellington show held on February 29. It said, in part: "Jimmy Grissom also possesses an exceedingly pleasing voice, but he needs to utilize just a bit more salesmanship to sell himself vocally."
On March 14, 1952, Jimmy recorded "Solitude" with Ellington for a Snader Telescription (a music video made for television). [It's the only visual record of Jimmy Grissom, and is on the Internet at Solitude (the version that doesn't skip). I'd have to agree with the review about his salesmanship; he basically just stands there.]
On April 29, they gave a concert at the Armory in Yakima, Washington. Two songs recorded live were "Summertime" and "The Blues (Good Woman Blues)".
On June 30, 1952, Jimmy made his first commercial recording with Duke Ellington: "Come On Home", waxed for Columbia, in New York.
The band played the Apollo Theater the week of July 4, 1952. The July 5 New York Age said: "Tuneful Jimmy Grissom rounds out the all-star musical group with his never-to-be-forgotten vocals." Apollo owner Frank Schiffman begged to differ; his notes for the show called Jimmy a "rather ordinary baritone singer".
The August 13, 1952 Down Beat, talking about Ellington's recording for Columbia said: "Duke's new deal also calls for separate sessions by his singers, Betty Roche and Jimmy Grissom, to be released on the Okeh label. First coupling under this agreement was due out last week."
The band played the Kiel Theater in St. Louis on August 15. As far as I can tell, this was the first time Jimmy's name appeared in an Ellington ad (although they spelled it "Ghissom").
When they were at Philadelphia's Earle Theater, the week of September 26, 1952, the Philadelphia Inquirer said:
The new Ellington band is a far cry from the smooth orchestra of 10 years ago which formerly offered such haunting melodies as "Mood Indigo", "Solitude", and "Sophisticated Lady". The Duke of today is more of an emcee than a top pianist whose talented fingers coaxed mood music from the ivories....
Jimmy Grissom, male vocalist with Ellington, sang "Once There Lived A Fool", "Come On Home", and "She Moved".
Okeh released "Come On Home" in September 1952. The flip was the instrumental "Smada". It received a "C+" in the October 4 Cash Box:
Jimmie Grissom comes through with a fine piece of Rhythm and Blues type music as the Ellington crew back the vocal artist on the slow sad number.
However, it was savaged in a childishly-written review in the December 3 Down Beat:
Now here we go again on not knowing who the artist was; it really doesn't matter because the band drowned him out anyway. I couldn't catch half of the lyrics, but this is just another blues and not a very good one, I don't think. I think the blues are coming back. This is a very depressing type number, what I could hear of it. The balance was very bad.
That was a wonderful sax section, and a nice booming bass; the rhythm section was fine. The arrangement I didn't care for. Maybe I'm spoiled by Nelson Riddle and his wonderful arrangements. I think it was over-arranged, because it's a simple blues; I didn't like the singer at all, because he was screaming; everybody screams, and this has got to stop. I would give it about a one.
While it's definitely a blues sound, I have no problem understanding the lyrics, nor does he seem to be screaming.
On December 22, 1952, Jimmy recorded "The Vulture Song" and "Follow Me" for Columbia, in Chicago.
1953 started with another Major Robinson "scoop" in the January 29 Jet: "Jimmy Grissom, Duke Ellington's male vocalist, isn't talking about the empty ring box he got from blond Columbus, Ohio model Lee Knobloch as a Christmas gift. Their woomance ended suddenly and the diamond ring he should have gotten from the white model ended up on the finger of singer Larry Harrison of the Four Buddies." Just one garbage column after another.
February 1953 saw the release of two Jimmy Grissom records. One was on Columbia, with Ellington: "The Vulture Song", backed with the instrumental "Rock-Skippin' at the Blue Note". The other was on Recorded In Hollywood with bassist Red Callender's band: "S'Help Me I Love You", paired with the Que Martyn instrumental, "House Of Fire".
"The Vulture Song" was reviewed in the March 7 editions of both Billboard and Cash Box. It's a really depressing song (he's dying because she left him); it begins with "Vultures fill the sky / 'Cause they know that I / Can't last too long without you".
(BB; 70): Chanter Jimmy Grissom tackles this strange, doleful ballad and comes off surprisingly well on it. Backing by the Ellington ork is appropriately weird, as is the tune. It may catch spins from adventurous jocks. Some day soon perhaps, the Duke will wax some material that will show off the band better than these sides.
(CB; C): A melody and treatment as eerie as the title of the song, is wandered through by the Ellington gang while Jimmie Grissom handles the vocal chores.
The February 11, 1953 Down Beat had a large article about Jimmy, titled "Is Duke's Jim Grissom Best Since Jeffries?":
The Ellington camp-followers have begun to believe in Jimmy Grissom. The young man who has just completed his first year with the band has convinced many of Duke's devotees that here is the best male vocalist the outfit has boasted since the memorable Herb Jeffries era of 1940.
Unfolding his story for the Beat recently, Jimmy revealed that his mother was a sister of Dan Grissom, whose vocals helped to sell the great Jimmie Lunceford band of the 1930s. Jimmy, born Obbie Vernal Scott 24 years ago in Leland, Miss., changed to his ma's maiden name while living with his distinguished uncle, with whom he moved in, around 1945, in Los Angeles.
"I got my start with Bardu Ali at the Lincoln theater," he recalls. "Bardu was the fellow who fronted the old Chick Webb band when Ella Fitzgerald was Chick's vocalist.
"I played around Los Angeles, played some drums and sang, and did a lot of blues. The first record I had that did pretty well was Do As I Say, a blues, for Meltone [sic]. Then there was Pretty Mama Boogie on Modern. Once There Lived a Fool, which I did for [Recorded In] Hollywood, was my first ballad hit."
By the time he was 22 Jimmy had several moderately successful discs to his credit. He worked with the Blenders, and with Jack (Open the Door, Richard) McVea, with whom he toured for six months as drummer-vocalist-emcee. [Presumably the "Hollywood Revue" tour.]
James Clemons, a disc jockey in Fort Worth who was managing Jimmy, knew Duke Ellington well enough to set an audition. Duke was immediately impressed and Jimmy was no less immediately hired.
Jimmy has yet to record a side with the Ellingtonians that will do him full justice, but those who've seen him work with the band are aware of the potent combination he has to offer: rich, well-phrased, assured work on the ballads and rocking, shouting freedom of expression on the blues.
For a guy who can sing that much blues, he's an impressively happy character. "Duke is the greatest," he explains. "I wouldn't ever want to work with any other band."
Come to think of it, we wouldn't want any other band to get him, either.
It only took Down Beat two months to go from hating Jimmy Grissom to loving him.
An odd record appeared on Class in March 1953: "When The Swallows Come Back To Capistrano, pt. 1 & 2"; many sites attribute it to Jimmy Grissom. Actually, it's a couple of old recordings by the Jimmie Lunceford orchestra, with one side featuring a vocal by Dan Grissom. This is the review in the March 28 Billboard:
This is a ballroom air-check of the Lunceford band, tho the label doesn't come out and say so. Ork is listed as "A Tribute To Jimmie Lunceford". First side features a Dan Grissom vocal. Grissom was one of the vocalists with Lunceford. Crowd noises in the background are fairly evident, too. Second side is straight instrumental. In any event, this could interest come collectors. Recording quality is just so-so by present standards.
Dan Grissom had left Lunceford in 1943, so it's a real oldie.
On March 30, the Ellington band appeared at the Pasadena Civic Auditorium in "An Ellington Festival", put on by Gene Norman, at which a few live recordings of Jimmy Grissom were made: "Do Nothing Till You Hear From Me", "Street Blues (the same song as "Ballin' The Blues"), and "Without A Song".
And then, the Duke switched over to Capitol Records. On April 6, 1953, Jimmy recorded "Without A Song"; on April 7, it was "Ain't Nothin', Nothin', Baby (Without You)"; and on April 9, "Ballin' The Blues". These were all done in Los Angeles.
On April 30, the band appeared at McElroy's Ballroom in Portland, Oregon. There were four more live recordings: "Come On Home", "Do Nothing Till You Hear From Me", "Solitude" (another version), and "Vagabonds".
In May, Capitol issued "Without A Song", backed with an updated instrumental of "Satin Doll" (which he'd record endless times over the years). The May 17, 1953 Cedar Rapids, Iowa Gazette wasn't amused with the retread:
Duke Ellington managed to snag his release from prior contracts and signed with Capitol. His record debut on that label is not an auspicious one. "Satin Doll", a Duke "original", is, we are unhappy to report, pretty much last night's roast beef hash. "Without A Song" sports his new vocalist, Jimmy Grissom, all the way. The boy sings nicely and with just the proper amount of originality.
On the other hand, the May 20 Down Beat gave both sides three stars. Of "Satin Doll", they said: "Side is most pleasant and listenable". Jimmy's review went like this:
Song is sung by Jimmy Grissom. He stays in control as the band frequently slips into 3/4 time behind him. The cute ending could have been used at the beginning as an attention-grabber to hypo interest in a too-familiar tune. [An interesting comment; I agree with it.]
And then the New York Times chimed in:
"Satin Doll" is in a traditional Ellington mood which is heard too little these days. Much of Duke's time in recent years has been wasted on such trite trivia as "Without A Song" (essentially a vocal by Jimmy Grissom). [Remember, I said before that many didn't like Duke having vocalists.]
In June, Capitol released "Nothin', Nothin', Baby (Without You)", backed by "Ballin' The Blues". They were reviewed in the June 27, 1953 editions of both Billboard and Cash Box:
Nothin' Nothin' Baby (BB; 73): A smooth ballad, penned by the Duke, receives a good vocal from Grissom, over warm backing by the Ellington crew. It's a nice side for the Dukes' followers, and it's danceable.
Ballin The Blues (BB: 70): An R&B styled blues receives the usual Ellington ork treatment, plus a vocal by Jimmy Grissom. Duke's fans may want.
Nothin' Nothin' Baby (CB; C+): The old Ellington sound is back as the talented band leader conducts the group through a jumping blues item with a vocal by Jimmy Grissom. A good rhythm piece.
Ballin The Blues (CB: C+): Jimmy sends up another five [sic; probably meant "fine"] vocal demonstration on a fast moving toe tapper. The bluesy vocal fits the number perfectly. A good platter for hoofing.
On June 30, there was another Capitol session. This time, Jimmy recorded "Give Me The Right", "Is It a Sin? (My Loving You)", and "Don't Touch Me" in Chicago.
In the July 30, 1953 Jet, there was a full-page advertisement for the August edition of Tan Magazine, which I'm reproducing. While I don't have access to it, I'm sure the article was as hilarious as the ad itself.
Another Capitol recording session on July 1 in Chicago. This time, Jimmy recorded "Hear My Plea" and the first attempt at "What More Can I Say?".
On August 14, 1953, the Apollo Theater re-opened, after having been closed for four weeks. The stars were the Ellington band (with, of course, Jimmy Grissom), Billie Holiday, and Moke & Poke.
The Waterloo, Iowa Daily Courier of September 18 had a big article about Duke's local appearance the prior evening. It contained these two sentences:
That's not to say the whole show was directed at the rolled collar set - but their superlative fits the Duke's "book", a best seller over a quarter of a century, from his wailing "Moochee" to Obie Duke's crazy "Ballin' The Blues"....
Duke pinned a handle that sounded like Jimmy Grissom on the frenetic Obie Duke who came out, post intermission, to voice "Without A Song", "Do Nothin' Till You Hear From Me", and a couple of mellow originals before he clutched the mike and prowled the stage shouting his "Ballin' The Blues".
What do you make of that? I'm really confused. If you take it at face value, Ellington introduced Jimmy Grissom who's otherwise conflated (at least in the writer's mind) with "Obie Duke" (who's given writer credit on the label for "Ballin' The Blues"). Of course, Ellington would have known that Jimmy's real name was Obie (even if he didn't know it was actually Obbie), but is that really what's going on here? Where would the writer have gotten the name Obie Duke from, if Ellington hadn't mentioned it? And, if he did, what was the context? However, on ASCAP, the song is credited only to Edward Kennedy Ellington, Duke's actual name.
Leaving my total confusion behind, Capitol released Jimmy's "Give Me The Right", backed with the instrumental "Boo-Dah", in October 1953. At the end of that month, the band was at Broadway's famed Paramount Theater.
A lot more recording for Capitol, all in New York: "I'm Just A Lucky So And So" and "It Shouldn't Happen To A Dream" (recorded December 3, 1953), a second try at "What More Can I Say?" (December 5), "Blue Moon" and "Oh! Well" (December 15), and "What More Can I Say?" (third try, on December 21).
The January 21, 1954 College Reporter, a publication of the Mankato [Minnesota] State Teachers College had a article titled "Ellington Thrills College Crowd"
TC [Teachers College] students had a real thrill Wednesday night, Jan.13, when they danced to the music of Duke Ellington.
Although the Duke's individual styling proved very danceable, his floor show attracted as much attention. Students were amazed by the trumpet of "Cat" Anderson, whose playing explained the origin of his nickname. Vocalist Jimmy Grissom wore everyone out with his song and dance routines. Also excellent were the drum and baritone saxophone solos.
This is, as far as I can tell, the only reference to him as a dancer.
In February, Capitol released "Blue Moon", backed with the instrumental "Ultra Deluxe". It was reviewed in the February 20 Billboard:
Blue Moon (72): The Rodgers-Hart tune gets a run here by the Duke and his quintet. Jimmie Grissom does a stylized vocal. The instrumentation has a relaxed quality.
The week of February 19, the Ellington band was back at the Apollo Theater, this time along with the Flamingos and Dusty Fletcher (probably still doing his "Open The Door, Richard" routine). Apollo owner Frank Schiffman's review of Jimmy: "Fair".
The May 8, 1954 Pittsburgh Courier reported that: "Jimmy Grissom, Ellington crooner, is a defendant in [Los Angeles] Small Claims Court for non-payment of money allegedly owed. As we understand it, his money can be attached when authorities catch up with him. However, we're hopeful that matter has be amicably settled. Jimmy's a fine lad!" Nothing said who was suing him.
July 1954's Capitol release was "Is It a Sin? (My Loving You)", backed with Ellington's "Bunny Hop Mambo". It received a "C+" in the July 31 Cash Box:
Duke Ellington leads his big orchestra through a slow romantic ballad as crooner Jimmie Grissom handles the vocal chores.
When the band was at Los Angeles' Crescendo Club, the August 26, 1954 California Eagle talked about Jimmy's performance: "Handsome Jimmie Grissom, 24-year-old featured vocalist with the great Duke Ellington, is currently wowing them at Hollywood's famous Crescendo on Sunset Strip. A jammed house every night is customary."
On October 8, 1954, Jimmy recorded "September Song" with Ellington at Capitol's Chicago studios.
There was a big article in the November 11, 1954 California Eagle about the baby shower thrown for Jimmy's wife, Nadja, on November 7. Most of it was pure fluff, reporting about how wonderful the shower was, but it did give their wedding date as May 11, 1949 in Yuma, Arizona.
I have said this, in many, many articles, about many, many things: "I have no explanation for that". However, this one has climbed to the top of the list of things that boggle my mind. Less than a month after the baby shower, on December 2, Nadja gave birth to their daughter, whom they named Chochez Laronda Grissom. "Chochez" was such an odd name that I had see if it had some meaning. It sounds Spanish, and, as it turns out, it is; it translates to "dotage" or "senility". You could name your daughter "Faith", "Hope", "Charity", or "Zelda", but would you name her "Senility"? I doubt it. Since she was referred to as "Chochez Harrison" by late 1958, this probably indicates that her parents had divorced and her mother had remarried.
In April 1955, there was a Jimmy Grissom record on John Dolphin's Cash label: "I Had To Find Out For Myself", backed with "Listen Pretty Baby". I haven't heard either side, so I can't make a guess as to whether they were newly-recorded or were old Recorded In Hollywood masters. If new, I'm not sure why he would have recorded these on his own, since he was actively appearing with Duke Ellington.
In May, Jimmy made some more Capitol recordings with Duke Ellington, in Chicago: "Look What I've Got For You" (recorded May 17, 1955), "Coquette" (May 18), "Oh! Lady Be Good" and "So Long" (May 19).
But another departure from the band: The July 30, 1955 New York Age reported: "For night club divertissement go to hear Jimmy Grissom, Duke Ellington's male vocalist, currently doing a solo appearance at the Baby Grand until Duke finishes his engagement at the Aquashow. He's a solid sender." This one was easily explained. Duke was the musical director and bandleader for this year's edition of the Aquashow (a combination of water ballet, diving exhibition, and ice show), held at the Flushing Meadow Amphitheater in Queens, New York. As such, he wouldn't be using any singers and Jimmy was free to get another booking. The show opened on June 21 (to run through September 4 - Labor Day weekend), but was rained out on its first night.
But tragedy dogged the band. The July 30 Daily News reported that:
Out at the Aquashow in Flushing, Duke Ellington reports the loss of Sweetie May. Sweetie May is the antiquated revolver which has traveled with the band for 30 years against potential holdups. The loss is purely sentimental as nobody in the band ever knew how to fire Sweetie, but Duke wishes he could have it back since he considers it a luck charm.
On February 8, 1956, Jimmy and the Duke recorded "Everything But You" in Chicago. Ellington had many other sessions in 1956, with many singers, but Jimmy wasn't one of them. However, he was still appearing with the band.
A January 24, 1957 article in the Des Moines Tribune had Ellington and his band members talking about Elvis Presley. Here's what Jimmy Grissom had to say:
"He's the luckiest man I ever saw. But listening to him, I can't see anything really good. He's making lots of money and the kids adore him, but nobody in this business (jazz) takes him seriously."
Finally, after a year, another session. On March 13, 1957, Jimmy recorded "Rock City Rock", with Ellington, in New York. Now, the band was back with Columbia again. The song was released in April with "Cop-Out" (an instrumental) as the flip.
When they played the Coliseum (Evansville, Indiana) on May 12, 1957, it was to a small, but appreciative, audience. Jimmy sang "Flamingo", "Do Nothing Till You Hear From Me", and "Rock City Rock".
On October 14, 1957, Jimmy recorded "My Heart, My Mind, My Everything" at Columbia's New York studios. On December 9, he waxed "Together" and "Strange Feeling". These would be his last recordings with Duke Ellington until 1963.
In January 1958, Columbia released "Together", backed with "My Heart, My Mind, My Everything".
In mid-January, there was an ad for The Indigos Quartette at the Golden Strand in Miami Beach. They were: Johnny Hodges (alto sax), Billy Strayhorn (piano), Bill Pemberton (bass), and Jimmy Grissom (drums). The January 19 Fort Lauderdale Sunday News said: "Johnny Hodges made his last appearance with Duke Ellington's outfit at Wednesday's [January 15] War Memorial Auditorium concert. Hodges has formed a combo of his own with Jimmy Strahern [not even close] and Jimmy Grissom (singer) and follows Gene Krupa into the Golden Gate (Miami Beach).
But it wasn't a palace revolt, as the May 1, 1958 Down Beat explained:
Johnny Hodges' departure from Duke Ellington's band was only for a few weeks. An Ellington unit composed of Hodges, Billy Strayhorn, bassist Bill Pemberton, and singer-turned-drummer Jimmy Grissom, played a Florida engagement for a friend of Ellington's. Altoist Billy Graham filled Hodges' chair for the duration....
Jimmy and company were back with the Duke in time for a May 5 concert in Ridgewood, New Jersey. He was still there when the band played a concert on July 7, 1959 in Lambertville, New Jersey, singing "What Else Can You Do With A Drum" and "I Got It Bad, And That Ain't Good". He was still being advertised with Ellington during a mid-August tour.
But then he was gone. The September 3, 1959 Jet had this: "Bandleader Illinois Jacquet invested $2,500 in the career of ex-Duke Ellington band singer Jimmy Grissom, whom he now manages." Jimmy became Jacquet's vocalist in time for a concert and dance at the Owensboro, Kentucky Sportscenter on September 4. The September 4 New York Daily News said: "Jimmy Grissom, who used to sing with Duke Ellington, is making a comeback as a single. He's being managed by Illinois Jacquet, tenor sax star of some years back." Why did he leave Duke? Beats me.
Jacquet was at the Copa Club (Cincinnati) on September 11-13, 1959; the Tippin In (Berlin, New Jersey) on November 14-15; and the Key Club (Minneapolis) on January 4-10, 1960.
And then, silence. For the rest of 1960 and all of 1961, there's not a trace of Jimmy Grissom.
But then, the February 1, 1962 Smyrna, Delaware Times talked about a concert to be given at the University Of Delaware Student Center on February 5. Duke Ellington's band would appear, as would Jimmy Grissom.
The July 31, 1962 Cincinnati Post had a huge article about Jimmy. I'll reproduce the entire thing: "Singer Jimmy Grissom will record for Prestige." (I guess they ran out of ink.) This had already been reported in the June 16 Cash Box, in an article about Prestige signing several acts, including Eddie "Lockjaw" Davis, Willis Jackson, and Faye Adams.
Jimmy's one and only Prestige disc was released in October 1962: "I've Got You On My Mind", coupled with "A Lovers' Reverie" (with a misplaced apostrophe). "Mind" had a contemporary Drifters' sound. Both sides were given three stars in the October 20 Billboard, but there was no review.
On March 3, 1963, Dan Grissom died in Los Angeles. Over the years, few articles about Jimmy failed to mention that he was Dan's nephew.
Jimmy was with Illinois Jacquet once more for an appearance at the Esquire Show Bar in Montreal. They were advertised on May 17 and May 20, 1963, but I don't know how long the engagement was for.
And then, the Duke enters once more. In mid-1963, he started putting together a show, to be called "My People". Starring vocalists Joya Sherrill (who'd also sing with the Red Caps), Milt Grayson (who'd been with the Dominoes), Lil Greenwood, Jimmy McPhail, and Jimmy Grissom, it debuted on August 16 as part of Chicago's "Century Of Negro Progress" Exposition, which ran until August 31 at the Arie Crown Theater.
On August 20, 1963, in Chicago, Jimmy recorded some tracks for the "My People" cast album with Ellington: "Blues At Sundown", "Strange Feeling", and "Jail Blues". The next day, he waxed "My Mother, My Father, And Love" (which was also done, at the same session, by Jimmy Mc Phail, whose version was the one used on the album). Jimmy's two tunes used on the LP were "Jail Blues" and "Workin' Blues" (which is, strangely, a song that didn't appear on the list of tunes recorded at the session).
The September 14 Cash Box reported that Jimmy had been signed to Chicago's Argo Records, a subsidiary of Chess, and had just finished cutting an album.
The 8-song LP was released in December 1963 as Jimmy Grissom - World Of Trouble - Low Down Blues And Lonely Ballads. The tunes were: "World Of Trouble", "Mood Indigo", "I'll Miss You", "Lost In Meditation", "Mean And Evil Woman Blues", "I Don't Want You To Love Me", "I Believe I'll Make A Change", and "The Cheater". Two of them ("Mean And Evil Woman Blues" and "World Of Trouble") were released as a single, which was reviewed in the December 28 Cash Box:
Mean And Evil Woman Blues (B+): Jimmy Grissom unleashes his potent, wide-range vocal talents full-blast on this top-drawer funky jazz-blues reading of the oldie. Plenty of potential. [Note: the song was written by Hudson Whittaker (Tampa Red).]
World Of Trouble (B): More fine blues sounds. This one's a plaintive, shuffling rendition of the popular ballad.
In January 1964, the "My People" cast album was released on the Contact label. As I said before, Jimmy sings "Workin' Blues" and "Jail Blues".
The Argo LP was reviewed in the April 9, 1964 Portland, Maine Press-Herald:
Jimmy Grissom, nephew of the well-remembered Dan Grissom, has done a fine album for Argo. The title is "World Of Trouble" and the eight tracks are divided between ballads and blues.
Unlike his late uncle, whose vocal style naturally was geared to the Jimmie Lunceford orchestra, the younger Grissom reflects the experience of six years as a singer with Duke Ellington. He also seems tuned to the sound of Jimmy Witherspoon, which is hardly to his discredit.
Grissom has a notable empathy with the supporting sextet, which includes pianist John Young and guitarist George Eskridge.
It was also written up in the April 18, 1964 Asbury Park, New Jersey Press:
Grissom was the vocalist with the Duke Ellington orchestra from 1952 to 1958. Since then, he has been heard far too little. On this album, his first in some time. Grissom presents a dozen ballads and blues sung in a straightforward style that sounds much like Al Hibbler. Grissom, however, has something of his own to offer. His early schooling in the Ellington band and from his uncle, the late Dan Grissom who once sang with the great Jimmie Lunceford band, has given Grissom a mature, assured approach. His vocals on this album are jazz oriented, but fall in the "pop" category. Grissom is an effective ballad singer (listen to "Mood Indigo" and "Lost In Meditation") and he handles the blues well though he cannot be considered a purist. Oscar Brown Jr's "World Of Trouble" is by far the best track, but "I Don't Want You To Love Me", "the Cheater", "I'll Miss You", "I Believe I'll Make A Change", and "Mean And Evil Woman Blues" are worth the price of admission.
In spite of the good reviews for the Argo material, Jimmy Grissom never recorded again. On top of that, there was never another word printed about him for the remainder of his life.
As "Obie V. Scott", Jimmy Grissom died on January 18, 1975 in Chicago (to which he'd moved at some undetermined date). His death record says that his occupation was "Maintenance", but, as I said, the last decade of his life was a blank. The record also names his parents as Jessie Scott and Alma Grissom and says his wife is Susan Smith (about whom I know nothing, especially when they married).
The only obituary I could find was in the February 13, 1975 Jet:
Jimmie Grissom, 46, former vocalist with the Duke Ellington Orchestra, recently died of cirrhosis of the liver in Chicago.
Born Obie Vernon Scott [but now you know it was really Obbie Vernal Scott] in Leland, Miss., Grissom moved to Los Angeles at the age of 12 after his mother died. [Actually, the best we can do is "around 1945", when he was about 17.]
He lived with his uncle, the late Dan Grissom, who was a vocalist with the Jimmy Lunceford Band. One of his aunts, Mrs. Thelma Grissom Jackson, sang with the Fletcher Henderson Band. Following in the footsteps of his relatives, Grissom changed his name and started his own combo.
While Grissom's group was touring the country in the 1950s, the late Duke Ellington, who was also on tour, heard Grissom's group playing at a Texas supper club and later signed Grissom to sing with his orchestra. Grissom sang with the orchestra for several years and retired in 1965.
While cirrhosis, a liver disease, is most commonly associated with alcohol abuse, it isn't the only cause. Nothing I've come across talked about Jimmy being a heavy drinker.
Jimmy Grissom had a very nice voice for ballads; Duke Ellington was lucky to have employed him for so long. I have to note, sadly, that Jimmy's entire career was predicated on him being the nephew of Dan Grissom. Dan had a wonderful voice, but so did Jimmy (and it wasn't a copy of Dan's).
MILTONE (many different kinds of credits)
202 Do As I Say / [When I Grow Too Old To Dream - voc: Roy Milton] - 5/47
Above as by Jimmy Grissom, Teenage Vocalist
212 I'll Miss You / Frank Bull's Boogie (I) - 5/47
Above as by Big 3 Original Solid Senders, vocal by Jimmie Grissom / Jimmie Grissom & Blenders (he's the drummer)
213 Commin [sic] On With The Blues / [3 O'Clock In The Morning - Floyd Ray & Blenders, vocal by the Miltones] - 5/47
Above as by Floyd Ray & Blenders, vocal by Jimmie Grissom & The Miltones
218 It's Been So Long / Answer To R.M. Blues - 6/47
Both sides say Jimmie Grissom & Blenders - vocal by Effie Smith
224 Too Bad / Big Fine Baby - 9/47
Above as by the Blenders - vocal by Jimmie Grissom
225 Welcome Home Baby / Get Out - 10/47
Above as by Jimmie Grissom / Maxwell Davis & His Blenders - vocal by Jimmie Grissom
230 Whispering Grass / Ice Cold Love - ca 10/47
Above by the Blenders - vocal by Jimmie Grissom
245 Christmas Brings Me Down / Having Trouble With My Dreams - ca 12/47
Above by the Blenders - vocal by Jimmie Grissom
700 Big Fine Baby / [You Gonna Get It In The End - Lawrence (Batty) Battiste] - 48
Above as by the Blenders - vocal by Jimmie Grissom (it used the same label as 224)
UNRELEASED MILTONE
Sometimes I'm Happy (recorded in 47)
Three Little Bears (recorded 3/47)
Lonesome Playboy (recorded 4/47)
My Buddy (recorded ca 8/47)
SWING TIME (Miltone masters)
125 Do As I Say / [Answer To R.M. Blues - vocal Effie Smith] - ca 3/48
MODERN (Jimmy Grissom & Orchestra)
635 Pretty Mama Boogie / It's Better This Way - 12/48
M-G-M (Jimmy Grissom)
10337 California Blues / Your Footsteps 'Round My Door - 1/49
MODERN (Jimmy Grissom w. Buddy Floyd Ork)
647 They Call It The Blues / Can't Be Bothered With Love - 3/49
668 Just Got Back / Rocky Mountain Blues - 4/49
M-G-M (Jimmie Grissom)
10445 In The Middle Of The Night / I Send My Regrets - 6/49
10485 Bring Your Lovin' Back To Me / Haunted - 7/49
SWING TIME (Miltone masters - done with Maxwell Davis at the "Get Out" session)
190 Hung Out / The Adam's Bop Hop - ca 4/50
GOTHAM (reissue of Miltone 245)
252 Christmas Brings Me Down / I'm Having Trouble With My Dreams - ca 10/50
RECORDED IN HOLLYWOOD (Jimmy Grissom)
143 Once There Lived A Fool / I'll Still Keep Loving You - 11/50
149 Once In Love Blues / I Lost My Inspiration - 2/51
Above as Jimmy Grissom & Red Callender Sextette
153 Walkin' Blues / The Hole In The Wall - ca 4/51
FEDERAL (purchased from Recorded In Hollywood; label credits as on original releases)
12046 Once In Love Blues / I'll Still Keep Loving You - 7/51
SNADER TELESCRIPTION (a music video made for television)
13007 Solitude - Duke Ellington Ork, with Jimmy Grissom - filmed March 14, 1952
OKEH (Duke Ellington & His Ork, vocal by Jimmy Grissom)
6911 Come On Home / [Smada (I)] - 9/52
COLUMBIA (Duke Ellington & His Ork, vocal by Jimmy Grissom)
39942 The Vulture Song / [Rock-Skippin' at the Blue Note (I)] - 2/53
UNRELEASED COLUMBIA
Follow Me (12/22/52)
RECORDED IN HOLLYWOOD
245 S'Help Me I Love You / [House Of Fire - Que Martyn] - ca 2/53
Above by Jimmy Grissom; music by Red Callender
CLASS (This may say "Jimmy" on the label, but it's Dan Grissom singing with Lunceford)
504 When The Swallows Come Back To Capistrano, Pt 1 / [Pt 2 - Jimmie Lunceford (I)] - 3/53
CAPITOL (Duke Ellington and His Famous Orchestra; vocal by Jimmie Grissom)
2458 Without A Song / [Satin Doll (I)] - 5/53
2503 Nothin', Nothin', Baby (Without You) / Ballin' The Blues - 6/53
2598 Give Me The Right / [Boo-Dah (I)] - 10/53
2723 Blue Moon / [Ultra Deluxe (I)] - 2/54
2875 Is It a Sin? (My Loving You) / [Bunny Hop Mambo (I)] - 7/54
UNRELEASED CAPITOL
Don't Touch Me (6/30/53)
Hear My Plea (7/1/53)
What More Can I Say? (first version; 7/1/53)
I'm Just A Lucky So And So (12/3/53)
It Shouldn't Happen To A Dream (12/3/53)
What More Can I Say? (second version; 12/5/53)
Oh! Well (12/15/53)
What More Can I Say? (third version; 12/21/53)
September Song (10/8/54)
Look What I've Got For You (5/17/55)
Coquette (5/18/55)
Oh! Lady Be Good (5/19/55)
So Long (5/19/55)
Everything But You (2/8/56)
CASH (Jimmy Grissom)
1006 I Had To Find Out For Myself / Listen Pretty Baby - 4/55
COLUMBIA (Duke Ellington & His Ork, vocal by Jimmy Grissom)
40903 Rock City Rock / [Cop-Out (I)] - 4/57
41098 Together / My Heart, My Mind, My Everything - 1/58
UNRELEASED COLUMBIA
Strange Feeling (12/9/57)
PRESTIGE (Jimmy Grissom)
225 I've Got You On My Mind / A Lovers' Reverie - 10/62 (note misplaced apostrophe)
ARGO (Jimmy Grissom)
5460 Mean And Evil Woman Blues / World Of Trouble - 12/63
729 Jimmy Grissom - World Of Trouble - Low Down Blues And Lonely Ballads - 12/63
World Of Trouble
Mood Indigo
I'll Miss You
Lost In Meditation
Mean And Evil Woman Blues
I Don't Want You To Love Me
I Believe I'll Make A Change
The Cheater
CONTACT
CS-1 My People Cast Album - (two songs by Jimmy Grissom; the rest by others) - 1/64
Workin' Blues
Jail Blues
UNRELEASED CONTACT
Blues At Sundown
Strange Feeling
My Mother, My Father, And Love
